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
Clout as simply a pseudonym for the poet” in
the 1579 Shepheardes Calender, she errs, I think, in seeming at times
to transfer that role to Immerito, repeatedly referring to the authorial
voice in the work by the name of “Immerito” (Johnson, Shepheardes, 8).
Following in Johnson’s path, Jennifer Richards continues the conflation
of Immerito with Spenser but with a more pointed analytical perspective,
building an argument based on the contrast between the voice of “its
supposed author ‘Immerito’ (Spenser’s persona)” with those of the other
characters, including “Colin
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