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Additional info for Disowning Knowledge in Seven Plays of Shakespeare (Updated Edition)

Example text

3, the statue scene, but there the presiding presences are all human; and Leontes ignores Apollo’s oracle, though ultimately it proves true as a description of the play. The final example is different because it is not simply a staging of a divine appearance. Instead, in The Tempest there is a staging of a staging of a divine appearance. Prospero arranges for his spirits to entertain Miranda and Ferdinand with a masque of three goddesses, and later some naiads and some reapers.

Those happy smilets That played on her ripe lip seemed not to know What guests were in her eyes, which parted thence As pearls from diamonds dropped. In brief, Sorrow would be a rarity most beloved If all could so become it. 2 (lines 72–5). More generally, the late plays’ paragon-daughters, who are also discussed in awestruck tones, are analogues for Cordelia. For Jones, the omission of such a scene from F results from Shakespeare clarifying the genre and even periodization of his own career. This is a bold and fascinating conclusion, not stopping at the image of Shakespeare-the-reviser, but positing an even more self-conscious author who thought about the organization of his works into genres and periods.

It works in the same way as Cranmer’s prophecy, creating a heightened atmosphere very much in keeping with climactic moments in romance. As the third possible Shakespeare–Fletcher collaboration (the lost play Cardenio) shows, the significance of these later works in the context of this book can just be a result of their being romance in any sense. The tight chronological group of the classic canon of four romances is not final, and is instead followed by a more dispersed and varied continuation of the exploration of the mode.

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