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Five minutes to midnight and All’s Well
Richard Hillman

poised on the Shakespearean tragic threshold (probably facing forwards). To cross that threshold, as with Macbeth and especially King Lear, is to privilege apocalypse at midnight, the horror of seeing the devil in the face (God having turned His face away). Here, it is not yet midnight (and it will never be), but five minutes to, thanks to the rear-guard action fought on behalf of the retreat, or

in French reflections in the Shakespearean tragic
Abstract only
Richard Hillman

relation to Shakespeare’s Othello and Antony and Cleopatra , respectively. See Hillman, French Origins of English Tragedy , pp. 76–7, and French Reflections in the Shakespearean Tragic , pp. 97–105. 16 See T. E. Lawrenson, ‘La mise en scène dans l’ Arimène de Nicolas de Montreux’, Bibliothèque d’Humanisme et Renaissance , 18 (1956), 286–90. La Diane , too, affords some spectacular effects, for instance, in Elymant’s protracted conjuring sequence (Montreux, La Diane , II.ii.1838–1991). 17 La Diane , therefore, is double the length of the standard

in The Shakespearean comic and tragicomic