《英语文学导论 An Introduction to English Literature》课程教学资源（参考资料）The Cambridge Companion to Shakespeare's Poetry

Copyrighted THE CAMBRIDGE COMPANION TO SHAKESPEARE S POETRY Edited by Patrick Cheney

THE CAMBRIDGE COMPANION TO SHAKESPEARE'S POETRY This Companion provides a full introduction to the poetry of William Shakespeare through discussion of his freestanding narrative poems,the Sonnets,and his plays.Fourteen leading international scholars provide acces- sible and authoritative chapters on all relevant topics:from Shakespeare's seminal role in the development of English poetry,the wide-ranging practice of his poetic form,and his enigmatic place in print and manuscript culture,to his immersion in English Renaissance politics,religion,classicism,and gender dynamics.With individual chapters on Venus and Adonis,The Rape of Lucrece,The Passionate Pilgrim,The Phoenix and Turtle',the Sonnets,and A Lover's Complaint,the Companion also includes chapters on the presence of poetry in the dramatic works,on the relation between poetry and performance, and on the reception and influence of the poems.The volume includes a chronology of Shakespeare's life,a note on reference works,and a reading list for each chapter

THE CAMBRIDGE COMPANION TO SHAKESPEARE’ S POETRY This Companion provides a full introduction to the poetry of William Shakespeare through discussion of his freestanding narrative poems, the Sonnets, and his plays. Fourteen leading international scholars provide acces￾sible and authoritative chapters on all relevant topics: from Shakespeare’s seminal role in the development of English poetry, the wide-ranging practice of his poetic form, and his enigmatic place in print and manuscript culture, to his immersion in English Renaissance politics, religion, classicism, and gender dynamics. With individual chapters on Venus and Adonis, The Rape of Lucrece, The Passionate Pilgrim, ‘The Phoenix and Turtle’, the Sonnets, and A Lover’s Complaint, the Companion also includes chapters on the presence of poetry in the dramatic works, on the relation between poetry and performance, and on the reception and influence of the poems. The volume includes a chronology of Shakespeare’s life, a note on reference works, and a reading list for each chapter

CAMBRIDGE UNIVERSITY PRESS Cambridge,New York,Melbourne,Madrid,Cape Town,Singapore,Sao Paulo Cambridge University Press The Edinburgh Building,Cambridge CB2 2RU,UK Published in the United States of America by Cambridge University Press,New York www.cambridge.org Information on this title:www.cambridge.org/9780521608640 C Cambridge University Press 2007 This publication is in copyright.Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2007 Printed in the United Kingdom at the University Press,Cambridge A catalogue record for this publication is available from the British Library ISBN-13 978-0-521-84627-I hardback ISBN-I3 978-0-521-60864-o paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is,or will remain,accurate or appropriate

CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sa˜o Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 2RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521608640 # Cambridge University Press 2007 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2007 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library ISBN-13 978-0-521-84627-1 hardback ISBN-13 978-0-521-60864-0 paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate

CONTENTS List of contributors page ix Preface xi Acknowledgements xili Note on texts xiv Chronology XV Introduction:Shakespeare's poetry in the twenty-first century PATRICK CHENEY I I Shakespeare and the development of English poetry WILLIAM J KENNEDY I4 2 Rhetoric,style,and poetic form JOHN ROE 33 3 Print and manuscript LUKAS ERNE 54 4 Venus and Adonis COPPELIA KAHN 72 5 The Rape of Lucrece CATHERINE BELSEY 90 6 The Passionate Pilgrim and The Phoenix and Turtle' JAMES P.BEDNARZ 108 7 The Sonnets MICHAEL SCHOENFELDT I25 vii

CONTENTS List of contributors page ix Preface xi Acknowledgements xiii Note on texts xiv Chronology xv Introduction: Shakespeare’s poetry in the twenty-first century PATRICK CHENEY 1 1 Shakespeare and the development of English poetry WILLIAM J. KENNEDY 14 2 Rhetoric, style, and poetic form JOHN ROE 33 3 Print and manuscript LUKAS ERNE 54 4 Venus and Adonis COPPE´ LIA KAHN 7 2 5 The Rape of Lucrece CATHERINE BELSEY 9 0 6 The Passionate Pilgrim and ‘The Phoenix and Turtle’ JAMES P . BEDNARZ 108 7 The Sonnets MICHAEL SCHOENFELDT 125 vii

CONTENTS 8 A Lover's Complaint KATHERINE ROWE I44 9 Poetry,politics,and religion ANDREW HADFIELD I6I Io Love,beauty,and sexuality DANIELLE CLARKE 181 II Shakespeare and classicism HEATHER JAMES 202 I2 Poetry in Shakespeare's plays PATRICK CHENEY 22I I3 Poetry and performance DAVID SCHALKWYK 24I I4 Reception and influence SASHA ROBERTS 260 Reference works on Shakespeare's poetry 28I Index 287 vii

8 A Lover’s Complaint KATHERINE ROWE 144 9 Poetry, politics, and religion ANDREW HADFIELD 161 10 Love, beauty, and sexuality DANIELLE CLARKE 181 11 Shakespeare and classicism HEATHER JAMES 202 12 Poetry in Shakespeare’s plays PATRICK CHENEY 221 13 Poetry and performance DAVID SCHALKWYK 241 14 Reception and influence SASHA ROBERTS 260 Reference works on Shakespeare’s poetry 281 Index 287 CONTENTS viii

CONTRIBUTORS JAMES P.BEDNARZ,Long Island University,USA CATHERINE BELSEY,Cardiff University,Wales PATRICK CHENEY,Pennsylvania State University,USA DANIELLE CLARKE,University College Dublin,Ireland LUKAS ERNE,University of Geneva,Switzerland ANDREW HADFIELD,Sussex University,UK HEATHER JAMES,University of Southern California,USA COPPELIA KAHN,Brown University,USA WILLIAM J.KENNEDY,Cornell University,USA SASHA ROBERTS,University of Kent,UK JOHN ROE,University of York,UK KATHERINE ROWE,Bryn Mawr College,USA DAVID SCHALK WYK,University of Cape Town,South Africa MICHAEL SCHOENFELDT,University of Michigan,USA 这

CONTRIBUTORS JAMES P . BEDNARZ , Long Island University, USA CATHERINE BELSEY , Cardiff University, Wales PATRICK CHENEY, Pennsylvania State University, USA DANIELLE CLARKE, University College Dublin, Ireland LUKAS ERNE, University of Geneva, Switzerland ANDREW HADFIELD, Sussex University, UK HEATHER JAMES , University of Southern California, USA COPPE´ LIA KAHN , Brown University, USA WILLIAM J. KENNEDY , Cornell University, USA SASHA ROBERTS , University of Kent, UK JOHN ROE, University of York, UK KATHERINE ROWE, Bryn Mawr College, USA DAVID SCHALKWYK, University of Cape Town, South Africa MICHAEL SCHOENFELDT, University of Michigan, USA ix

PREFACE The Cambridge Companion to Shakespeare's Poetry is the first volume in print to study the achievement of Shakespeare's poetry both in his poems and in his plays.As such,the companion aims to complement other volumes in the Shakespeare companion series.These volumes,all published by Cambridge University Press,concentrate on the plays and Shakespeare's role as a man of the theatre:Shakespeare on Film,edited by Russell Jackson (2ooo); Shakespeare on Stage,edited by Stanley Wells and Sarah Stanton (2002); Shakespearean Comedy,edited by Alexander Leggatt(2002);Shakespeare's History Plays,edited by Michael Hattaway (2002);Shakespearean Tragedy, edited by Claire McEachern(2002);and Shakespeare,edited by Margreta de Grazia and Stanley Wells (zoo).This last volume includes only a single chapter on the poems(by John Kerrigan),and nothing on the topic of poetry in the plays,although it does include a few chapters relevant to the present volume:those on Shakespeare's texts by Barbara A.Mowat,on his reading by Leonard Barkan,and,most importantly,on his language by de Grazia.Only incidentally,however,do these chapters mention the poems,so that the texts, the reading,and the language discussed are overwhelmingly for and of the plays.Accordingly,this new companion assembles a distinguished group of scholars from the United Kingdom,the United States,the Republic of Ireland, Switzerland,and South Africa to present a series of chapters on the individual poems,on the topic of poetry in the plays,on the special contexts important for viewing 'Shakespeare's poetry',and on the afterlife of this topic. The companion consists of fourteen chapters,each dealing with a literary, historical,or cultural feature of Shakespeare's poetry,and each concluding with a select 'Reading list'of recommended works.The volume also includes a chronology geared to the individual chapters and a concluding note on the reference works available on Shakespeare's poetry.The 'Introduction'draws a frame for viewing Shakespeare's poetry in the twenty-first century,while the structure of the subsequent chapters conforms to the tripartite format of the companion series. xi

PREFACE The Cambridge Companion to Shakespeare’s Poetry is the first volume in print to study the achievement of Shakespeare’s poetry both in his poems and in his plays. As such, the companion aims to complement other volumes in the Shakespeare companion series. These volumes, all published by Cambridge University Press, concentrate on the plays and Shakespeare’s role as a man of the theatre: Shakespeare on Film, edited by Russell Jackson (2000); Shakespeare on Stage, edited by Stanley Wells and Sarah Stanton (2002); Shakespearean Comedy, edited by Alexander Leggatt (2002); Shakespeare’s History Plays, edited by Michael Hattaway (2002); Shakespearean Tragedy, edited by Claire McEachern (2002); and Shakespeare, edited by Margreta de Grazia and Stanley Wells (2001). This last volume includes only a single chapter on the poems (by John Kerrigan), and nothing on the topic of poetry in the plays, although it does include a few chapters relevant to the present volume: those on Shakespeare’s texts by Barbara A. Mowat, on his reading by Leonard Barkan, and, most importantly, on his language by de Grazia. Only incidentally, however, do these chapters mention the poems, so that the texts, the reading, and the language discussed are overwhelmingly for and of the plays. Accordingly, this new companion assembles a distinguished group of scholars from the United Kingdom, the United States, the Republic of Ireland, Switzerland, and South Africa to present a series of chapters on the individual poems, on the topic of poetry in the plays, on the special contexts important for viewing ‘Shakespeare’s poetry’, and on the afterlife of this topic. The companion consists of fourteen chapters, each dealing with a literary, historical, or cultural feature of Shakespeare’s poetry, and each concluding with a select ‘Reading list’ of recommended works. The volume also includes a chronology geared to the individual chapters and a concluding note on the reference works available on Shakespeare’s poetry. The ‘Introduction’ draws a frame for viewing Shakespeare’s poetry in the twenty-first century, while the structure of the subsequent chapters conforms to the tripartite format of the companion series. xi

PREFACE The first part divides into three chapters,and establishes the critical foundation for viewing the volume topic,examining Shakespeare's role in the development of English poetry',his use of 'rhetoric,style,and poetic form',and the media of'print and manuscript'that allowed his poetry to take its distinctive shape.These chapters suggest a range of cultural venues and contexts for witnessing how Shakespeare's poetry derives from,and responds to,the primary energies of the Renaissance,in Europe as in England. The second part of the companion consists of five chapters on individual poems and ancillary volumes of published poetry,with one chapter each on Venus and Adonis,The Rape of Lucrece,the Sonnets,and A Lover's Complaint,and a combined chapter on the two works taught less often: The Passionate Pilgrim and The Phoenix and Turtle'.These chapters aim to orient readers to the poems and to the critical conversation about them,and (where relevant)to apply the material from the first part of the companion. Finally,the third part consists of six chapters that seek to widen the topic of 'Shakespeare's poetry'.The first three chapters introduce important topics,contexts,and methodologies,attending to 'politics and religion', to love,beauty,and sexuality',and to the recurrent 'classicism'in Shakespeare's poems (especially Virgil and Ovid).The next two chapters each produce a different critical model for relating the poems to the plays, the poetical to the theatrical:the first on Shakespeare's use of 'poetry in the plays';the second on the connection between 'poetry and performance'. A concluding chapter treats the afterlife of Shakespeare's poems-their reception and influence'. The word 'poetry'in the volume title is deliberately open-ended,evoking Shakespeare's poems and simultaneously calling attention to the poetical as a major tool and concept in the Shakespearean craft,in plays as in poems,for the stage as for the page.Thus individual chapters focus on the poems but layer in commentary on the plays when relevant or possible. xii

The first part divides into three chapters, and establishes the critical foundation for viewing the volume topic, examining Shakespeare’s role in ‘the development of English poetry’, his use of ‘rhetoric, style, and poetic form’, and the media of ‘print and manuscript’ that allowed his poetry to take its distinctive shape. These chapters suggest a range of cultural venues and contexts for witnessing how Shakespeare’s poetry derives from, and responds to, the primary energies of the Renaissance, in Europe as in England. The second part of the companion consists of five chapters on individual poems and ancillary volumes of published poetry, with one chapter each on Venus and Adonis, The Rape of Lucrece, the Sonnets, and A Lover’s Complaint, and a combined chapter on the two works taught less often: The Passionate Pilgrim and ‘The Phoenix and Turtle’. These chapters aim to orient readers to the poems and to the critical conversation about them, and (where relevant) to apply the material from the first part of the companion. Finally, the third part consists of six chapters that seek to widen the topic of ‘Shakespeare’s poetry’. The first three chapters introduce important topics, contexts, and methodologies, attending to ‘politics and religion’, to ‘love, beauty, and sexuality’, and to the recurrent ‘classicism’ in Shakespeare’s poems (especially Virgil and Ovid). The next two chapters each produce a different critical model for relating the poems to the plays, the poetical to the theatrical: the first on Shakespeare’s use of ‘poetry in the plays’; the second on the connection between ‘poetry and performance’. A concluding chapter treats the afterlife of Shakespeare’s poems – their ‘reception and influence’. The word ‘poetry’ in the volume title is deliberately open-ended, evoking Shakespeare’s poems and simultaneously calling attention to the poetical as a major tool and concept in the Shakespearean craft, in plays as in poems, for the stage as for the page. Thus individual chapters focus on the poems but layer in commentary on the plays when relevant or possible. PREFACE xii

ACKNOWLEDGEMENTS The idea for a Cambridge Companion to Shakespeare's Poetry emerged through discussions with Sarah Stanton at the Press.I am grateful to her for support and advice throughout the project. Also at the Press,I wish to thank Jackie Warren for guiding the volume through production with courtesy and efficiency,and Penny Wheeler for expertly copy-editing the manuscript. The Press produced four readers'reports on the volume proposal,and each of them helped shape the final outcome.So did Lukas Erne and Colin Burrow,who read the Introduction and the note on reference works,and who offered scrupulous commentary.As always,at Penn State I wish to thank Robert R.Edwards,Garrett A.Sullivan,Jr.,and Laura Lunger Knoppers for their continued conversation and collegial friendship.My department heads,Robert Caserio in English and Caroline D.Eckhardt in Comparative Literature,make my work possible through their generous support. Three research assistants also made contributions.Alexis Hait,an under- graduate intern,helped assemble some of the upfront material;Eric Brune, also an undergraduate intern,compiled the Index;and Giuseppina lacono, a Ph.D.student,prepared both the Chronology and the note on 'Reference works on Shakespeare's poetry'.My thanks to all three for doing excellent work. Finally,let me thank the contributors themselves.Through their care, discipline,and scholarship,they have ensured that this volume appears in a timely fashion.The field is lucky to depend on so much expertise,assembled in a single volume,and devoted to Shakespeare's poetry. xiii

ACKNOWLEDGEMENTS The idea for a Cambridge Companion to Shakespeare’s Poetry emerged through discussions with Sarah Stanton at the Press. I am grateful to her for support and advice throughout the project. Also at the Press, I wish to thank Jackie Warren for guiding the volume through production with courtesy and efficiency, and Penny Wheeler for expertly copy-editing the manuscript. The Press produced four readers’ reports on the volume proposal, and each of them helped shape the final outcome. So did Lukas Erne and Colin Burrow, who read the Introduction and the note on reference works, and who offered scrupulous commentary. As always, at Penn State I wish to thank Robert R. Edwards, Garrett A. Sullivan, Jr., and Laura Lunger Knoppers for their continued conversation and collegial friendship. My department heads, Robert Caserio in English and Caroline D. Eckhardt in Comparative Literature, make my work possible through their generous support. Three research assistants also made contributions. Alexis Hait, an under￾graduate intern, helped assemble some of the upfront material; Eric Brune, also an undergraduate intern, compiled the Index; and Giuseppina Iacono, a Ph.D. student, prepared both the Chronology and the note on ‘Reference works on Shakespeare’s poetry’. My thanks to all three for doing excellent work. Finally, let me thank the contributors themselves. Through their care, discipline, and scholarship, they have ensured that this volume appears in a timely fashion. The field is lucky to depend on so much expertise, assembled in a single volume, and devoted to Shakespeare’s poetry. xiii

NOTE ON TEXTS All quotations from the poems and plays of Shakespeare come from Cambridge University Press editions,unless otherwise noted. In particular,for Venus and Adonis,The Rape of Lucrece,The Phoenix and Turtle',and A Lover's Complaint,quotations come from The Poems, ed.John Roe(Cambridge University Press,1992);and for the Sonnets,from The Sonnets,ed.G.Blakemore Evans(Cambridge University Press,1996). xiv

NOTE ON TEXTS All quotations from the poems and plays of Shakespeare come from Cambridge University Press editions, unless otherwise noted. In particular, for Venus and Adonis, The Rape of Lucrece, ‘The Phoenix and Turtle’, and A Lover’s Complaint, quotations come from The Poems, ed. John Roe (Cambridge University Press, 1992); and for the Sonnets, from The Sonnets, ed. G. Blakemore Evans (Cambridge University Press, 1996). xiv