Shakespeare’s Bookish Rulers: Philosophy and Nature Poetry in the Henry VI Trilogy and The Tempest

Round 1

Reviewer 1 Report

Comments and Suggestions for Authors

Please see my full commentary attached.

In short, your argument is very very interesting and your approach is wonderful.

I would like your argument to be more fully developed and explained in simple terms.  You have clearly demonstrated to me that Shakespeare, through the characters of Henry and Prospero (primarily) is very interested in the question of active vs contemplative.  I am not sure what the "old philosophic problem" is here, but you almost answer it at the end when you say activa is 'necessary' but contemplativa is 'primary'.  That focus needs to be more clear throughout and developed in the beginning sections.

I'd love for you to take it further and explain what is necessary and what is primary and how these two things interact, but perhaps that is a different work. 

I hope you keep at Shakespeare and Plato, I enjoyed very much reading your work and it gave me tremendous hope for the future.  

Comments for author File: Comments.pdf

Comments on the Quality of English Language

See PDF commentary.  Minor edits suggested.  Some slang you might consider taking out :)

Author Response

Please see the attachment. 

Author Response File: Author Response.pdf

Reviewer 2 Report

Comments and Suggestions for Authors

Thank you for the opportunity to review this paper. The innovative look at the representations of otium versus negotium (vita contemplativa versus vita activa) in Shakespeare’s Henry VI trilogy and The Tempest is an interesting observation and allows for arguments that challenge a binary/dialectic view of these states of being. The article’s focus is clearly articulated in the introduction and then methodically goes through each of the character portrayals. The structure is logical – but one suggestion I have is to not assume each quote speaks for itself – especially the longer quotes (look specifically on page 4-5). Might be wise to have a sentence after each quote that points back to something specific in the quote – word choice, technique, device – that situates the significance of the quote more clearly. For example: Lines 179-181 of the paper could mention how the use of anaphora in these lines is used to situate Henry as ‘outside’ Margaret’s expectation and highlight his predilection for contemplative pursuits. Also, no need to start a new paragraph after block quotes, especially if the focus is not changing.

Great paper – just a little more situating of each quote’s significance could help make this even more poignant.

Author Response

My responses are attached. 

Author Response File: Author Response.pdf