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New Comedy in All's Well That Ends Well

Published online by Cambridge University Press:  20 November 2018

Robert S. Miola*
Loyola College


We are all Familiar with the traditional understanding of sources: a source is a previous text that shapes a present one through authorial reminiscence and manifests itself in verbal iteration. As the seminal works of Baldwin, Muir, and Bullough amply demonstrate, this definition has served us long and well, but every element in it has undergone intense scrutiny and reevaluation. Scholars now recognize the potential limitations of a linear, authorcentered, and largely verbal approach and have become attuned to the likelihood of intermediation, the encodings implicit in genre and language, the more oblique and more satisfying evidence of configuration—both rhetorical and dramatic. Within the spacious perspectives provided by scholars like Leo Salingar, Emrys Jones, Gordon Braden, Harry Levin, Alan Dessen, and Louise George Clubb (who has coined the term “theatergram” for certain kinds of configuration), we may well reexamine the sources of Shakespearean comedy.

Copyright © Renaissance Society of America 1993

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