Shakespeare’s Mirrors

Edward Evans received his BA in Ancient and Modern History and MPhil in Oriental Studies from the University of Oxford. He received his Ph.D. in English Literature from Bar-Ilan University.

• Introduction: Shakespeare’s Mirror Metaphors Prologue: “The Mirror of All Martial Men,” (Living up to Stereotypes) Mirrors in the Cultural and Historical Context of Sixteenth Century England Henry VI, Part One 1. “Amorous Looking-Glass:” The Self-Infatuation of the Regal Perfomer in the Early Histories Richard III and Henry VI, Parts Two and Three Richard II 2. “Dissembling Glass of Mine:” Female Self-Evaluation within the Patriarchal Genre of Courtship Comedy The Two Gentlemen of Verona The Comedy of Errors The Taming of the Shrew Love’s Labour’s Lost A Midsummer Night’s Dream The Merchant of Venice As You Like It 3. “The Mirror of All Christian Kings:” Increasing Tension between Classical Action and Christian Passivity Henry IV, Part Two Henry V Julius Caesar 4. “The Mirror up to Nature:” Hamlet’s Metaphysical Redirection of the Purpose of Playing Hamlet Metatheatre Subverting the Classical TraditionShakespeare’s Rivalry with Ben Jonson Hamlet’s Pauline Education at Wittenberg The Gravedigger Scene as Christian Exegesis Venetian Mirrors and the Representation of the Self in the Context of the Revolutionary Social and Scientific Environment of the Sixteenth Century 5. “Glassy Essence:” The Fraudulent Hypocrisy of Impious Authority Troilus and Cressida Measure for Measure Timon of Athens6. “Spacious Mirror:” The Epic Futility of Political Activity in a World Without Redemption King Lear Macbeth Antony and Cleopatra Coriolanus 7. “My Glass, Mine Own:” Human Play and Identity Reconciled Through Performative Faith Pericles, Prince of Tyre Cymbeline The Winter’s Tale The Tempest The Two Noble Kinsmen Henry VIII Epilogue: “Through A Glass, Darkly” Bibliography