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Considers the evolution of Shakespearean comedies (from bodily farce to more intellectual comedy) as a complex learning system. Argues that Shakespeare's changing works reflect the changing circumstances of his day.
Using the "Singer Solution to World Poverty," examines "the language of bonds and the language of needs" in King Lear to interrogate the morality of the play. Suggests that "for both Lear and Gloucester, the new concept in their moral thinking is not to see good and evil but to feel them instead."
Argues that the lute songs in Shakspeare's plays draw on the Italian musical genre of frottola.
Discusses René Allio's costume design for 1 and 2 Henry IV, presented in 1957 at the Théâtre de la Comédie and later on tour Includes facsimiles of Allio's designs.
Identifies three shared features between Shakespeare and Henry James: their "taste for experimentation" (in genre, structure, and the new forms of expression), their continuous revision for "'the art of complete representation,'" and their making use of language "to the utmost limit."
Examines how King Lear adapts and transforms different source material from Layamon with a focus not just on what is taken, but what is left behind.
Explores "Shakespeare's use of character, dumbshow, spectacle and ellipsis in Pericles," arguing for "the play's obsessive concern 'with the exercise of narratio.'"
Gives a brief overview of Chaucer and Shakespeare glossaries. Argues that new glossaries are needed for the modern readers to understand the old and unfamiliar words in Shakespeare's work.
"Demonstrate[s] how King Lear represents . . . collective language" by "show[ing] the narrative process or zero narrative . . . and . . . show[ing] the collective, transformative language of nothing that is the counterpart of that narrative process." Argues that "this rebirth of the human, within the tragic community, expresses itself in a secular benediction."
Examines functions of mimicry for Shylock and their role in Machiavellian nation-building in Merchant of Venice. Argues that "the issue of alien infiltrators into the emerging national unity in sixteenth-and seventeenth-century England, as reflected in the theater of Shakespeare and his contemporaries, is inseparable from the issue of . . . the commodification of nationhood."