By Alice Joyce Davidson
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Extra resources for Alice-Story of Zacchaeus
63 See Frank Kermode’s ‘Notes’ to The Tempest, 134. 64 Samuel Schuman, ‘Man, Magician, Poet, God—An Image in Medieval, Renaissance, and Modern Literature’, Cithara: Essays in the Judaeo-Christian Tradition, 19/2 (May 1980), 40–54, at 51. 65 W. H. Auden, Lectures on Shakespeare, ed. Arthur Kirsch (Princeton: Princeton University Press, 2000), 300. Henceforth LOS. 66 W. H. Auden, ‘Mimesis and Allegory’ (1940), Prose, ii. 1939–1948, ed. Edward Mendelson (London: Faber, 2002), 79. Henceforth Prose, ii.
How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in’t! prospero ’Tis new to thee. (v. i. 181–4) Miranda’s Wnal exchange with Prospero brings such sceptical diYculties centre stage on a smaller scale. The father–daughter wrangle touches on the diYculties of conceiving another’s point of view. It shows how hard it is to recognize that someone else is not just a carbon copy of ourselves. It is hard to let go, and Prospero hangs upon his daughter’s words as she steps forward in a world of her own, for he has lost much already.
His intonation will always be diVerent from hers; our illocutionary redescription will never recover his. The ambiguities that surround this line are the stuV of the printed page, and the following chapters are concerned with the ways that we try, and fail, to simulate intentions that are lost in print. Editors and directors of the play have debated how this line should be played—as an aVectionate aside, a moment of revelation, or a disenchanted, pessimistic sigh. 137 Indeed, this has involved the addition of warmer shades of emotion through editorial and typographic intervention.
Alice-Story of Zacchaeus by Alice Joyce Davidson