itself’ is, for example, very useful in deconstructive readings
of The Winter’s Tale. In an important discussion of the
play from this perspective, Howard Felperin argues that in the final
scene we are encouraged, with Leontes, to ‘relax and
enjoy’ the ‘inescapable mediacy of
language’. 19 Building on Felperin’s analysis, John J.
Joughin is even able to dislocate the ‘unknowability’ of
Divine destruction in Friar Bacon and Friar Bungay
‘ending’ of spectacle is therefore shown to be the
preserve of the inaccessible, supernatural world of wholeness.
Earlier in this chapter I suggested
that Friar Bacon and Friar Bungay is highly indebted to
emblematic iconography. Building on this observation, it is reasonable
to suggest that the play also draws on the modes of interactive