Peter Milward, S. J. (1925-): A Chronology and Checklist of his Works on Shakespeare, in English, Gathered in the Burns Rare Book Library, Boston College, Chestnut Hill MA

[*MLA = listed in PMLA Bibliography, coverage beginning 1963; *WSB = listed in World Shakespeare Bibliography, online coverage beginning 1971, previous years in Shakespeare Quarterly annual bibliography]

[* after date means ≥significant≤ article or book; bolded date means a published item in English which cites Shakespeare. A few Japanese items are given in brackets or listed if they are translated in ms.]

Ed. Dennis Taylor

Boston College

Revised Feb. 23, 2006

1925 Milward born in London.

1933-43 Wimbledon College (a Jesuit secondary school), including preparatory school at Donnhead Lodge (1933-36). "At school I was introduced to Shakespeare, like so many other English schoolchildren, by Charles and Mary Lamb. And then we had the sonnets of his Golden Treasury to learn by heart. Then from the age of 10 onwards, beginning with Macbeth, it was play after play to be read and studied in class, with the learning of the memorable speeches in them, till we were thoroughly indoctrinated with Shakespeare" ("Fifty Years of Shakespeare," 2002). "Between the ages of 11 and 17, I was no play-goer; and the only Shakespeare play I ever watched during that period was The Tempest. . . . I remember very little of it, except for the opening tempest, which was very impressive and so calculated to appeal to small boy like me" ("Fifty Years of Shakespeare," 2002, revised version).

1943-47 Entered Society of Jesus, two years noviceship at St. Beuno's College, North Wales. Then a year of juniorate at St. Beuno's College (1945-6): "Now I read King Lear for the first time" ('Shakespeare and I", 1997). Then a second year of juniorate at Manresa House, Roehampton (1946-7).

1947-50 Philosophy at Heythrop College, Oxon. "I was . . . happy studying the old mediaeval philosophy of Aquinas, even if considerably watered down by Suarez and our textbooks. . . . Not that I then was investigating the thought of Aquinas with a view of finding possible parallels in the thought of Shakespeare. . . . . I subsequently discovered the good probability of his having read the first book of Hooker's Laws of Ecclesiastical Polity (1594), in which the influence of Aquinas is both evident and admitted by the author" ("Fifty Years of Shakespeare," 2002, revised version).

1950-54 Classical and English Literature at Campion Hall, Oxon. "My special field was to be the classical literature of Greece and Rome, or what are simply called 'the classics'. That had been my chosen field of study even at high school in Wimbledon, and it remained so during my years of formation as a Jesuit." ("Fifty Years of Shakespeare," 2002). "But I was now destined for Japan, to teach at the Jesuit university of Sophia, or Our Lady Seat of Wisdom, and they had no need of a classical teacher. Instead, they gave me a choice between History and English; and so I chose English. Then it was that my tutor . . . set me the task of extensive reading for the examination paper--one of ten for which I had to prepare during the next seven terms--on the work of Shakespeare" ("Fifty Years of Shakespeare," 2002, revised version). "And that was the heyday of the great don-producer, Nevill Coghill. It was also the heyday of C. S. Lewis . . . [who] had much of significance to say about what he called 'prolegomena" both to mediaeval and to Renaissance literature. Only, when it came to Shakespeare he was strangely dumb! All the same, of all the personal influences on my mind during my four years at Oxford, his was unquestionably the greatest" ("Fifty Years of Shakespeare," 2002).

1952 Essays for his Oxford tutor, Mrs. Dorothy Bednarowska, spring-summer, 1952 (Milward, personal correspondence, 31 March 2002). "I couldn't help noticing how often the dramatist repeats himself. . . . He also echoes . . . . strangely enough, the text of The Spiritual Exercises. . . . which might have been accidental as due to the Renaissance way of thinking . . . . I wondered at the time if Shakespeare might not possibly have come upon the printed text of the Exercises, but I dismissed it as remote possibility--till evidence came my way several years later of a probably encounter between the young Shakespeare and the eminent Jesuit Edmund Campion in Lancashire of all places" (see below, 1999, "Shakespeare's Jesuit Schoolmasters"). "I have to confess that I find that period of my life a strange blank; for then I was too close up to him and his plays to see them with the needed charm of distance." ("Fifty Years of Shakespeare," 2002, revised version).

"The Theme of Kingship in Richard II-Henry V."

"Richard III--A Melodramatic Morality."

"In the mind of Shakespeare, the great catastrophe in English mediaeval history was the deposition and murder of Richard II."

"Shakespeare's Experimental Comedies."

"The exact chronological order of Shakespeare's plays has always been a matter of controversy; and yet such knowledge is indispensable if we are to trace the development of Shakespeare's mind in them." "It is possible to trace some development in their author's mind: within these what development we see must needs be largely subjective and very tentative." MND shows "the difference between the old and the new, between the Middle Ages and the Renaissance; and Shakespeare, with all his fascination at the superficial glitter of the new age, remains essentially mediaeval at heart." "The sympathy of treatment . . . makes the character of Shylock stand out from the play as thoroughly human, if at the same time vicious."

"Shakespeare's Use of Plutarch in the Roman Plays."

"What caused Shakespeare to turn from comedy to tragedy has been a subject of much conjecture. Some critics assign a psychological explanation. . . . . Others explain the change by historical events, such as the rebellion and execution of Essex. Amid many varying conjectures, it may be allowed to add another," that is, the reading of Plutarch.

"Much Ado About Nothing." 2 May 1952.

"The Problem Plays." 8 May 1952.

Cites Chambers on "the danger of reading too much of the author's life in his plays. . . . 'a biography which we can never know'. The author must ever remain a cryptic figure behind his plays, anonymous in all but name." On All's Well: "a certain theological tendency in the play. . . . a kind of allegorical correspondence between her curing of the king and her winning of Bertram's affection, as between the healing of corporal and spiritual disease."

"Othello: Iago a Mere Piece of Machiavellianism."

"Shakespeare is conducting a criticism of the Machiavellian ideal."

"Imagery in Shakespeare's Tragedies."

Tutor: "In contrast to the black and hellish images--notice the heavenly and bright quality of those associated with Desdemona--the cherubim--the rose--the light--the pearl--the chrysolite--alabaster--the white ewe--snow--the more angel she, And you the blacker devil--curse his better angel from his side." Tutor: "Notice the images of nature and beauty that accompany the return of Cordelia and the reconciliation iv.111--sunshine & rain--pearls & diamonds--holy water from her heavenly eyes--- a soul in bliss--birds in the cage--the gilded butterflies."

"Treatment of Antony and Cleopatra by Shakespeare and Dryden."

There is in Shakespeare, as it were, a gigantic joy in all creation. . . . Such then was the spirit of his mind at the time of writing. . . . All this may be conjecture, but at least it is conjecture warranted by facts and by psychology."

"Last Plays of Shakespeare: Return to Romance."

Dowden, p. 406: "The dissonance must be resolved into a harmony, clear and rapturous, . . . . at the end there is a resolution of the dissonance, a reconciliation." Dowden, p. 382: "He could now so fully and fearlessly enter into Timon's mood, because he was now past all danger of Timon's malady." In these late comedies, emphasis "falls . . . on the ever more remarkable family reunions." "It is in this spirit of forgiveness and family reunion, that Shakespeare finally . . . returns to Stratford; for what can the forgiveness of the plays mean, but a forgiveness of that London public whose lack of feeling had aroused in indignation in Coriolanus and Timon. . . ."

1954 Arrives in Japan. 6 months teaching Spanish scholastics at Language School near Yokohama. Two years of language study at Taura near Yokosuka. "Then I had to study Japanese for two years, and theology for another four years, and another year of noviceship again, before I could at last, at the ripe old age of 37, take up my appointed task of teaching English literature to Japanese students at the Jesuit University of Sophia in Tokyo, from 1962 onwards" ("Fifty Years of Shakespeare," 2002).

1955 "Shakespeare as Historian." Sophia 4 (Spring 1955): 65-81. In Japanese. English translation in Shakespearian Papers (1965) 39-51.

Not about Catholic dimension.

1957-61 Theology at St. Mary's College, Kami-Shakujii in Tokyo. Ordained priest in 1960 at St. Ignatius Church ijn Yotsuya.

1960* "Shakespeare no Higeki≤ (≥Shakespeare's Tragedies"). Seiki (Sophia University) no. 119 (April 1960): 40-50. In Japanese. English translation in Shakespearian Papers (1965) 65-73: "a review of a recent book on Shakespeare and Catholicism by H. Mutschmann and K Wentersdorf. This book deeply impressed me with its full biographical evidence for what I had long recognized (with Newman and Chesterton) as the Catholicism of Shakespeare's plays" ("Shakespeare and I" 1997).

Cites Mutschmann, Parker, Chambrun. "Whatevever may have been his private views on religion, he could not give free expresson to them . . . ." If Shakespeare was indeed (as recent scholarship seems to vindicate) a loyal Catholic and remained so till the day of his death, if as a Catholic he wishes (according to what one might call the psychology of great literature) to express his deepest religious thoughts in his plays, and if he was unable (as various hints in these plays lead us to suppose) to reveal them openly on account of the prevailing persecution, but had perforce to hide them under cover of indirect allusions and veiled allegories; if all this is true, the conclusion cannot be other than a radical reinterpretation of his plays as a whole, which may perhaps expose their true underlying meaning for the first time." In Hamlet, "the queen represents the English people, who were formerly espoused to Catholic religion, but are now united to a false usurping heresy, with the result that there is a deep rottenness and corruption at the heart of the nation. Shakespeare, moreover, recognized himself in Hamlet as the true son of the Catholic religion (his royal father) and the English people (his fickle mother). To show his fidelity to his religion, he wishes to goad the consciences of his countrymen by means of this play; but his courage is deficient, and he continually blames himself for hesitation in taking effective measures in a more open and direct manner." "The murdered Duncan stands for the former Catholic religion." Cites John Buchan's novel, The Blanket of the Dark, on the dissolution of the monasteries. "Because of this primary religious preoccupation, he is able to give full scope to all his gifts of nature and of grace--broad philosophical wisdom unparalleled depth of insight into the heart of man, lofty flights of poetical description--through which these plays are numbered among the greatest works of the world's literature."

1962 ≥Shakespeare no Humanism≤ (≥Shakespeare's Humanism≤). Sophia (Sophia University) 11 (Autumn 1962): 36-57. In Japanese. English translation in Shakespearian Papers (1965) 29-38.

In 1962 Milward joins English Department at Sophia University and will teach there until 1996.

Cites Tillyard's "Respublica or England is the hero."

"Then at last I could begin to see Shakespeare with all the charm of distance. . . . And then, too, I came to develop my own distinctive approach . . . . I took that aspect which meant most to me, in virtue of my long formation as a human being and a Jesuit, and an aspect which I am sure meant most to him as well, namely the religious, the Catholic, even the recusant aspect--in spite of the certainty that I would be condemning myself to figurative exile, in the view of modern Shakespearian orthodoxy, to the lunatic, heterodox, sectarian fringe of such studies. But if it was to be so, so let it be--as Viola puts it in Twelfth Night. "No wonder Shakespeare himself had to keep his own source of inspiration hidden from such 'suborned informers' as Rosencrantz and Guildenstern" ("Fifty Years of Shakespeare," 2002). "I was helped in this reading by Shakespeare and Catholicism by Heinrich Mutschmann and Karl Wentersdorf. This and two other related books, The Religion of Shakespeare by Henry Sebastian Bowden (1899) and The Shakesperes and 'The Old Faith' by John Henry de Groot (1946), provided me with much biographical and historical support" ("Fifty Years of Shakespeare," 2002, revised version).

1962 ≥Shakespeare and Sophia.≤ Eibei Bungaku Kenkyu 5 (1962): 5-9.

On universities, fools, etc. in Shakespeare.

1962* ≥The Base Judean.≤ Shakespeare Studies (Tokyo) 1 (1962): 7-14. Included in Shakespearian Papers (1965) 74-78. *WSB.

"Judean", not "Indian," and thus soul as "pearl of great price" (Geneva, Authorized) lost through betrayal. "Sweetest innocent" evokes Christ as innocent lamb; Judas' kiss evokes "kissed thee ere I killed thee." Shakespeare uses "base" elsewhere to mean vile, not ignorant. Iago's "tribe" as Jewish. See below, ≥More on åthe Base Judeanπ≤ (1989).

1963 "Happy and Tragic Interpretations of Shakespeare's Plays." (Review of Dover Wilson's Shakespeare's Happy Comedies and C. J. Sisson's Shakespeare's Tragic Justice.) Sophia 12 (Spring 1963): 101-107. In Japanese. English translation in Shakespearian Papers (1965) 60-64.

1963 ≥Shakespeare no Arashi ni tsuite≤ (on Shakespeareπs Tempest). Seiki 162 (1963): 74-9. English translation, 2/03, by Mayumi Tamura, ms. in BC collection: ≥In the opening scene, the Boatswain . . . asks Gonzalo to åcommand these elements to silence and work the peace of the presentπ. In fact, this is what Shakespeare himself achieves in this play.≤ ≥This play has the characteristic of religious allegory. . . . Prospero . . . seems to be God who leads the human history to the happy ending by his Providence.≤ ≥The eulogy of Gonzalo . . . quite similar to the Exultet in the on the Eve of Easter. åWas Milan thrust from Milan that his issue / Should become kings of Naples? O, rejoice / Beyond a common joy. . .π.π Miranda ≥reflects the ideal image, which Shakespeare inherited from the Christian tradition of Medieval age. . . . the figure of åLady of Loveπ,≤ like the Virgin Mary in religious poetry. On Prosperoπs final ≥baseless fabric≤ speech: ≥But the vision shows something that transcends itself as all the material things do. It indicates the thing itself which gives the everlasting meaning to them. And it is nothing but the inspiration of Godπs bliss. . . . who created the heaven and the earth, and who will exist forever and not perish with time, and which God gives to all that will preserve the true love after the trials till the last.≤

1963* "Shakespeareπs Mediaeval Inheritance.≤ Shakespeare Studies (Shakespeare Society of Japan) 2 (1963): 49-52. Reprinted in Mediaeval Dimension (1987-90). Also included in Shakespearian Papers (1965) 52-59. *WSB.

S. owed less to Renaissance, which he often satirized, than to Medieval Christianity, esp. its Morality and Mystery plays (citing Farnham and others); shows preference for old Catholic order of Dante over new Protestant order of Milton (57, 58): "This, however, is a tremendous subject, which cannot be adequately treated [here]" 58. Sees in S. an "evolution . . . from the mediaeval ideal of courtly love and chivalry, which belongs more to the early Comedies, via the Renaissance ideal of Platonic love, which appears in the mature Comedies, to the religious ideal of the Christian Middle Ages," i.e. the Virgin Mary resonance in Helena, Desdemona, Cordelia. Cites his 2 Sophia articles, 1955 (S. as Historian), 1962 (S's Humanism).

1963 "The Underthought of Shakespeare in Hopkins.≤ Studies in English Literature (Eibungaku Kenkyu) (Japan) 39 (1963): 1-9. *MLA (in Hopkins section).

Shakespearean underthought in Hopkins, i.e. his use of images, like Edgar's "the worse is not / So long as we can say, This is the worst," behind Hopkins's "No worst, there is none." In 1971 (continuing), Milward became president of the Hopkins Society (Japan) which was founded under his leadership.

1963 "Shakespeare in Japanese Translation." Studies in Japanese Culture: Tradition and Experiment. Ed. Joseph Roggendorf (Tokyo: Sophia University, 1963). 187-207. Also included in Shakespearian Papers (1965) 96-111. *WSB.

The attempted assassination of liberal leader, Itagaki Taisuke, in 1882 prompted the first Japanese trans.of Shakespeare, Julius Caesar. Review of Japanese translations and their struggle to balance archaic formality (used influentially by Tsubouchi Shˆyˆ) and modern colloquialism. ["Did the Japanese political use of Shakespeare suggest to you the possibility of a political/religious interpretation?" Milward, 3/26/02: "No."]

1963 "Tomorrow and Tomorrow and Tomorrow. Shakespeare Interpreted in Japanese." Studies in English and American Literature (Eibei Bungaku Kenkyu) no. 6 (1963): 7-10. In Japanese. English translation in Shakespearian Papers (1965) 112-114.

1963 "F. D. Hoeniger (Ed.): Pericles 'The Arden Shakespeare.'≤ Shakespeare News 3 (1963): 6-7. *WSB

"shows remarkable parallels to the miracle plays of the Middle Ages, esp. . . . the Digby play of Mary Magdalene."

1964 An Introduction to Shakespeare's Plays. Tokyo: Kenkyusha, 1964. Translated into Japanese: Tokyo: Chuo Shuppansha, 1972. *WSB.

Milwardπs first book. "For my classes I first prepared hand-outs. . . . I put them together in the form of a little book" ("Fifty Years of Shakespeare," 2002).

Based on course lectures 1962-3, English Dept, Sophia Univ.; pref. dated Nov. 1963; general overview, cites opposition of medieval chain of being with skeptical, empirical Renaissance; notes both parents "strongly attached to the old religion"; persecution by Lucy perhaps "connected with religion, as the magistrate was a Puritan and a zealous persecutor of Catholics"; cited Lancashire theory as "better substantiated"; Tillyard's "Respublica, or England, is the hero" theory of history plays; Shakespeare's heroines symbolizes ideal goodness; cites again love in Roman de la Rose pruned of courtly adultery, and also influence of neoplatonism; Shakespeare deeply indebted to Morality plays. Bibliography includes Chambrun, Shakespeare: A Portrait Restored, and Mutschmann and Wentersdorf. Trans. in Japanese, Tokyo: Ch¸ˆ Shuppansha, 1972. "for my classes I first prepared hoand-outs. . . . I put them toegether in the form of a little book."

1964* "A Theology of Grace in The Winter's Tale.≤ English Literature and Language (Eibungaku to Eigogaku) 2 (1964): 27-50. *WSB. Reprinted in Mediaeval Dimension (1987-90). Also included in Shakespearian Papers (1965) 79-95.

The women are vehicles of divine grace by which the men, like Leontes, are brought to repentance and redemption. Thus much more than the "nature" play argued by some critics.

1964 "A Biography of William Shakespeare." (Review of Rowse biography.) Sophia 13 (Spring, 1964): 89-94. In Japanese. English translation in Shakespearian Papers (1965) 5-8. *WSB.

"In the name of sense, he [Rowse} mocks the obstinacy of the Catholics who clung to their religious principles. . . . "

[1964 "Shakespeare in Japanese Translation." Sophia (Sophia University) 13 (Spring 1964): 37-60. In Japanese. *WSB.]

1964 "Who Was Shakespeare" Eigo Seinen 110 (May 1964): 360-62. Included in Shakespearian Papers (1965) 2-4. *WSB. Condensed, modified form in America (25 April): 566-67. *WSB (America version).

1964 "Sonnet: The Heart of Shakespeare's Mystery." English Literature and Language (Eibungaku to Eigogaku) 2 (1964): p. ii. Gathered in Shakespearian Papers (1965) 1.

1964 ≥Shakespeare to Catholicism≤ ("Shakespeare and Catholicism"). Seiki 168 (May 1964): 73-80. In Japanese. English translation in Shakespearian Papers (1965) 9-14. *WSB.

Cites Simpson, Bowden, Thurston, Chambrun, De Groot, Muthschmann, Parker, Williamson. "It is significant that Jonson's conversion dates from soon after his first meeting with Shakespeare, and he remained loyal to his new-found faith throughout the period of their friendship, only to relapse after the latter's retirement from the stage." Chambrun cites many Rheims parallels. King Lear onwards begins "unbroken line of ideal heroines, who are frequently described in terms traditionally applied to the Virgin Mary." (See "Theology of Grace," 1964.)

1964 "St. Thomas and Shakespeare." Studies in Mediaeval Thought (Chusei Shiso Kenkyu) 6 (Oct. 1964): 117-37. In Japanese. English translation in Shakespearian Papers (1965) 15-29.

1964? "The Religious Background of Hamlet." Ms, 5 pgs. singlespaced.

On source study, cites importance of Owst's Literature and Pulpit in Mediaeval England and Blench's "more recent" Preaching in England (1964). Thus c. 1964. But Blench overlooks 2 Books of Homilies, dealt with in part by Prof. Hart; also sermons of Henry Smith ("if it be but a sleep," "we shall be worms' meat," "where is Alexander" [also in Nashe's Christ's Tears], etc.), but emphasizing Catholic elements; also Persons' Christian Directory ("where will all your vanities be. . .?) and echoes of St. Peter's Complaint: Southwell use of "common," "cut off in her youth." See below, "Homiletic Tradition" (1967).

1965 Shakespearian Papers. Unpubl ms. "English Originals" of papers "[some] originally published in Japanese reviews during the decade 1955-65," especially 1964, the Shakespeare centenary. Included in this order : "Sonnet: The Heart of Shakespeare's Mystery" (1964); "Who Was Shakespeare?" (1964); "A Biography of William Shakespeare" (1964); "Shakespeare and Catholicism" (1964); "Sir Thomas and Shakespeare" (1964); ≥Shakespeare's Humanism" (1962); "Shakespeare as Historian" (1955); "Shakespeareπs Mediaeval Inheritance" (1963); "Happy and Tragic Interpretations of Shakespeare's Plays" (1963); "Shakespeare's Tragedies" (1960); ≥The Base Judean" (1962); "Theology of Grace in The Winter's Tale" (1964); "Shakespeare in Japanese Translation" (1963); "Tomorrow and Tomorrow and Tomorrow. Shakespeare Interpreted in Japanese" (1963).

This volume is companion t` o An Introduction to Shakespeare's Plays (1964), by providing a fuller treatment of its themes (Milward).

In 1965-6, Milward spent a sabbatical year as a "research fellow of the Shakespeare Institute, then at Birmingham. And that time I used for further research into that aspect of Shakespeare which drew my chief attention, an aspect which had drawn remarkably little attention, his religious background" ("Fifty Years of Shakespeare," 2002).

1966* "Shakespeare and Christian Doctrine.≤ Shakespeare Studies (Shakespeare Society of Japan) 4 (1966): 36-56. *MLA (first Milward listing in Shakespeare section). *WSB.

Attacks R. Frye's secularism as arbitrary; cites Devlin on Campion-Persons-Southwell connection; also on S's anti-Jesuit patriotic Catholicism in Macbeth. Ross's "poor country" speech "as if wrung from the heart of a Catholic recusant." Protestant parsons satirized. Cranmer's tribute to Henry VIII probably by Fletcher. S. moves from narrow patriotism of History plays to international Catholic viewpoint in later, thus Cymbeline's reconciliation with Rome. Use of pagan gods in late plays fits Catholic Baroque juxtaposition of classics and Christian themes. Cites de Groot. Fr. Sankey (in Frye) censored Measure for Measure not for theology but for sexual material. S. also interested in political allegory, i.e. shadow of Henry VIII in Claudius, Othello and Macbeth, treated in 1960 Japanese article, "Shakespeare's Tragedies." S. combines individualized realistic Tudor drama with medieval structure, thus reconciles "realism and idealism, the concrete and abstract" etc.

1966 "Shakespeare and Theology.≤ Essays in Criticism: 16 (1966): 118-122. *MLA. *WSB.

Against Wilson Knight's Nietzschean approach. Plays are "synthesis reconciling the Renaissance antithesis with the mediaeval thesis, rejoining what had already been broken."

1966 "English Literature Studies in Japan." Eigo Seinen (The Rising Generation) 112 (1966): 546-49.

"when Miss Bradbrook visited Japan on the occasion of the poet's fourth centenary, I recall how she urged us to develop a Japanese interpretation of Shakespeare . . . one that would reveal new possibilities in them against a Japanese setting."

1967* "The Homiletic Tradition in Shakespeare's Plays With Special Reference to Hamlet.≤ Shakespeare Studies (Shakespeare Society of Japan) 5 (1967): 72-87. *MLA. *WSB. Reprinted in Mediaeval Dimension (1987-90).

Many echoes of Henry Smith's Sermons, esp. those themes with "deep roots in Catholicism"; also echoes of Persons's Christian Directory, and Southwell's St. Peter's Complaint and The Triumphs over Death; Nash's Pierce Penniless. Cites Belloc; see S. as a Catholic but "transcending the lamentable division of Catholic and Protestant." From Southwell Triumphs over death "'tis common." From St. Peter's Complaint "impostum'd sore" and "Scorns of time." From Persons "body . . . . whereupon the wind not be suffered to blow," also "Where is Alexander". From Nash Pierce Penniless "Dram of eale" idea, also sky as overhanging vault of crystal. From Homily 'On Order', on man as incomparable creature. From Smith "Sea of troubles", also "a pin is able to kill us," "worm's meat". From Nash's Christ's Tears "desperate diseases . . . desperate medicines," ""no more ground, being dead, than the beggar."

1967 "The Moral Viewpoint of Shakespeare.≤ English Literature and Language (Eibungaku to Eigogaku) 4 (1967): 1-24. *WSB (misdated 1968).

Recurrent lamentation of "the malice of the age," etc. Importance of repentance and forgiveness in S.; law of justice and mercy, love and marriage, etc.

1967 Christian Themes in English Literature. Tokyo: Kenkyusha, c. 1967.

Christian Humanism, Our Lady, sacramental symbolism, etc., in English literature, with Shakespeare as recurrent example.

1968 "Shakespeare and Wilson Knight.≤ Shakespeare Studies (Shakespeare Society of Japan) 6 (1968): 75-93. *MLA. *WSB.

Knight celebrates amoral Nietzschean Byronic individualism in S. But these are enclosed with a mediaeval framework, with insistence on repentance, etc.

1968 "What's in a Name? A Study in Shakespearean Nomenclature.≤ English Literature and Language (Eibungaku to Eigogaku) 5 (1968): 1-11. *MLA. *WSB (noted in 1971 volume).

Friars as helpful go-betweens, Fr. John Frith (known for hawks) perhaps portrayed in Friar Lawrence; disguised duke in Measure reflect how Catholics went for counsel to priest; terms of Catholic devotion used for Romeo and Juliet's love.

1968 "Prolegomena to a Study of Shakespeare's Religious Background.≤ Eigo Seinen (The Rising Generation) 114 (1968): 673-76. *MLA. *WSB (noted in 1971 volume).

Against literature as only autonomous, we must consider historical background often hard to recover. "Strange silence" about Shakespeare's background, assigned to Elizabethan myth (which in fact he critiqued). Need to consider both Catholic and Protestant background. "So far there exists no general survey of this background as a whole in relation to the work of Shakespeare."

1968 Essays on Shakespeare, by G. K. Chesterton. Ed. Peter Milward. Tokyo: Kenkyusha, 1968.

Celebrates Chesterton's view, i.e. that MND "is the last glimpse of Merrie England," etc. In 1966 (and continuing) Milward became president of the Chesterton Society which was founded under his leadership. The Society has published 15 volumes of Chesterton translations.

[1968 "Chesterton no Shakespeare Kan≤ (≥Chesterton's View of Shakespeare"). Oberon (Tokyo) 11.1 (1968): 56-63. In Japanese. *WSB.]

1968 "Thomas More and William Shakespeare." Ms, 12 pgs.

Cites David Bevington, "Heywood's Comic Pleading for Reconciliation," Tudor Drama and Politics (1968), last ref. cited. Gloucester's "no leading need" like More's "let me shift for myself" on scaffold. More like faithful counsellors, Camillo, Gonzalo (with his utopia, admittedly from Montaigne), etc. Leontes "clearly a type of Henry VIII." See below, "Shakespeare's Merry Fooling" (1972).

1969* "The Religious Implications of The Merchant of Venice.≤ English Literature and Language (Eibungaku to Eigogaku) 6 (1969): 62-80. *MLA. *WSB (noted in 1971 volume). Reprinted in Mediaeval Dimension (1987-90).

"Many hidden references to the religious situation." i.e. the conflict of Catholics and Puritans. Notes Stoll and Siegel on Shylock/Puritan parallel. 'Damned error . . . approve' line, from both Catholic and Anglican (vs. Puritan) sources: T. Harding, Answer to M. Jewel, on heretic error and pretence of truth, Persons Brief Discourse, on heretics using scripture. John Whitgift and anon. Defence of the Ecclesiastical Regiment (1574) fought Puritan Thomas Carwright who defended literalist interpretation of Old Testament (execute heretics, etc.). Matthew Sutcliffe compares Puritan usurers to cruel Turks etc. Bancroft notes that Puritans "will not pray with us" etc. Lancelot on Shylock as "devil incarnal," perhaps from anti-Martinist tract on Puritan Martinists as "very devils incarnat." Bars between merchants and property=like laws against Catholics Belmont like continental Catholic area. Antonio like Christ, tainted wether, his patience like that urged by Southwell; his opening sadness reflect heavy burden on priests; pound of flesh like quartering. Merchant=common disguise for priests Southampton was owner of two estates on Hampshire coats, from which Catholics had traveled; Southampton's cousin, Thomas Pounde, Jesuit laybrother, owned estate in Hampshire called "Belmont."

1969 The New Testament and English Literature. Tokyo: Hokuseido, 1969.

Jesus on 'no faith, no miracle' parallels Paulina "requir'd / You do awake your faith." Refs. to carrying one's cross. Theme of Christ betrayal in RII and others. Lear and Cordelia like Pieta. Resurrective joy in miracles of late plays.

[1969 ≥Shakespeare Our Contemporary.≤ Sophia (Sophia University) 18.3 (Autumn 1969): 25-41 (219-35). In Japanese. *WSB.

From ms. of English translation:

"In contrast to this ambitious ideal [Tamburlaine's "aspiring minds . . . can . . . measure every wandering planet's course"], that proposed by Shakespeare seems not forward--but backward--looking into the dark 'abysm of time'."

1969 An Historical Survey of English Literature. Tokyo: Kenkyusha, 1969.

On Shakespeare passim. Brief. No ref. to religious contexts.

1969 "Shakespeare in the Modern World.≤ Eigo Seinen (The Rising Generation) 115 (1969): 772-74. *MLA. *WSB.

"Shakespeare stands aloof from the partisans of struggle, pointing out in play after play the evils of conflict and hatred." "He presents a measure of right, and a measure of wrong, on either side." Notes reunions in Pericles, Cymbeline, WTale, Tempest.

1969 "Some Missing Shakespeare Letters.≤ Shakespeare Quarterly 20 (1969): 84-87. *MLA. *WSB.

Indirect descendants of Elizabeth Hall may have letters still to be found. (Descent includes Milward's ancestors i.e. R. Milward c. 1833, who left packet of letters to Milward's grandfather, Parkinson who took the name "Milward".)

1969 "Shakespeare in Our Time.≤ Lecture, Assoc. of Foreign Teachers in Japan, 19 October 1969.

"[I]ts roots demonstrably go back to Shakespeare's time, to the controversies of the Reformation and the wars of Religion. . . . Shakespeare stands aloof from the partisans of struggle" in spirit of Mercutio's "plague o' both your houses."

1969-70* "The Religious Dimension of King Lear.≤ Shakespeare Studies (Shakespeare Society of Japan) 8 (1969-70): 48-74. *MLA. *WSB.

Against Elton's pagan reading; rather the play is Christian in meaning, though pagan in form. Edgar like hunted priests, in Harsnett, and Southwell's Humble Supplication, and Cecil's Execution of Justice (also "secret lurkings" in Cecil=Edgar's "Lurk, lurk"). Note Southwell use of "readiness" and "unripe" in Triumphs over Death. Cordelia silence like Christ before judges; appeal to duty as in Nowell's Catechism. Cordelia "most rich, being poor" reflect 2 Cor 8.9: "He, being rich . . . became poor." Persons's Christian Directory, "we rob and spoil all sort of creatures . . . to cover our backs" echoes in Lear.

1970* "The Shadow of Henry VIII in Shakespeare's Plays.≤ English Literature and Language (Eibungaku to Eigogaku) 7 (1970): 1-25. *MLA. *WSB.

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