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Extra resources for 1 Henry IV: A critical guide

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For Campbell, Falstaff does not reflect on the play’s political events but simply diverts from the historical plot. 106 Falstaff was further re-imagined in later investigations of the play’s politics. Sigurd Burckhardt directly countered Tillyard by arguing that Shakespeare actually opposes the Elizabethan world picture. 107 Falstaff, therefore, maintains a crucial presence across critical approaches to the play throughout the twentieth century. A New (Critical) History Tillyard’s seminal consideration of Shakespeare’s history plays in relation to their historical and political contexts – in other words, his historicist methodology – has had an enduring influence on approaches to 1 Henry IV.

THE CRITICAL BACKSTORY 33 61. Derek Cohen, ‘The Rites of Violence in 1 Henry IV’, Shakespeare Survey, 38 (1985), 77–84. 62. For example, Valerie Traub, ‘Prince Hal’s Falstaff: Positioning Psychoanalysis and the Female Reproductive Body’, Shakespeare Quarterly, 40 (1989), 456–74. 63. H. B. , 1938), pp. 161–207. 64. Van Doren, ‘Shakespeare’, pp. 109, 102. 65. Cleanth Brooks and Robert Heilman, Understanding Drama (London: George G. , 1946), p. 318. 66. R. J. Dorius, ‘A Little More than a Little’, Shakespeare Quarterly, 11 (1960), 13–26.

Greenblatt, ‘Invisible Bullets’, p. 38. 113. Michael Taylor, Shakespeare and Criticism in the Twentieth Century (Oxford: Oxford University Press, 2001), p. 189. 114. Greenblatt, ‘Invisible Bullets’, p. 32. 115. David Scott Kastan, Shakespeare After Theory (London: Routledge, 1999), p. 129. ’, in Shakespeare Left and Right, ed. Ivo Kamps (London: Routledge, 1991), pp. 241–58. 116. Kastan, Shakespeare After Theory, p. 134. 117. Kastan, Shakespeare After Theory, p. 132. 118. Kastan, Shakespeare After Theory, p.

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