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2nd ed. 1970. Willen, Gerald and Victor B. Reed, eds. A Casebook on Shakespeare’s Sonnets. New York: Crowell, 1964.
Bibliography: Bibliography Burgee, Anthony. Shakespeare. New York: Alfred A. Knopf, 1970 Cahn, Victor L. Shakespeare the playwright: A Companion to the Complete Tragedies, Histories, Comedies, and Romances. New York: Greenwood Press, 1991. Evans, Gareth, and Barbara Lloyd Evans.
13 G. Wilson Knight, The Mutual Flame: on Shakespeare's Sonnets and The Phoenix and the Turtle (London: Methuen, 1955) 118. Works Cited Alpers, Paul J. ed. Elizabethan Poetry: Modern Essays in Criticism. New York: Oxford UP, 1967. Knight, G. Wilson.
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London: Routledge & Kegan Paul, 1959. Frye, Northrop. "Characterization in Shakespeare's Comedy," Shakespeare Quarterly: Vol.IV (1953), pp.271-277. Nevo, Ruth. Comic Transformations in Shakespeare.
Names are given at birth, and the idea that he is called angelic from the start, would argue against this doctrine of innate depravity. But, as Shakespeare argues, it's a name that can't be lived up to because of natural passions and lusts, which ultimately leads to Angelo's hypocrisy. The play opens up not only dressing up Angelo with a pure name, but also as a puritanical deputy, who has been "elected" to enforce the laws while the Duke is away. This idea of "election" not only signifies the political decree of Vienna, but also a Pauline doctrine that relates to men and angels. Angelo has done an efficient job at fooling people into believing that he is incapable of natural vices.