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Hardy's fame was now so great that he was a frequent guest at fashionable dinner parties. In 1892 he recorded that Tess's fame had spread round the world and that translations were multiplying, its publication in Russia exciting great interest. Controversy generated publicity. Publicity generated prosperity. Sales of Tess far surpassed those of any of Hardy's previous works, and between 1900 and 1930 was reprinted some forty times in England alone. In addition to making Hardy famous and rich, the scandalous Tess attracted, and has continued to attract, an extraordinary range of critical opinion. Victorian reviewers, humanists, neo-Marxists, deconstructionists, cultural materialists, new historicists: everyone has had something to say about the novel. 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Critics have sometimes disparaged this first tetralogy as episodic and amateurish. There are various lively scenes, and some characters radiate vitality--in \u003ci\u003eRichard I\u003c\/i\u003e, Shakespeare (defying historical fact) created a superbly memorable monster, the grotesque and arrogant villain whom audiences love to hate. But if the Shakespeare of the first tetralogy blithely embarrasses his modern fans by the abundance of jingoistic propaganda, his second tetralogy (Richard I, Henry IV Parts One and Two and Henry V) is much more sophisticated and ambiguous. Indeed, in view of the problems of censorship which he faced, Shakespeare provides remarkably incisive insights into the behaviour of kings and their followers and opponents. The second tetralogy is rich in characterisation, memorable in heroic and plangent rhetoric, crafty in its plotting, and exceptionally intelligent in the way it relates low life to high life, the small to the great, the farcical to the tragic. 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