These notes list the most signiﬁcant publications in English on the tragedy since 1990. The best survey of publications on Julius Caesar published before 1990 is by René Weiss, in Shakespeare: A Bibliographical Guide (Oxford: Oxford University Press, revised edition 1990), edited by Stanley Wells.

EDITIONS The Julius Caesar in the Arden Shakespeare, edited by T. S. Dorsch, is high-minded, but dates from 1955 and is in serious need of updating. The New Penguin edition by Norman Sanders likewise dates from the year before the 1968 theoretical upheaval made it look reactionary and out- moded. Charney, Maurice (ed.), Applause Shakespeare Library (New York: Applause, 1996). Performance edition designed for actors. Gill, Roma (ed.), Oxford School Shakespeare (Oxford: Oxford University Press, 1992). Annotated edition with staging suggestions intended for sixth forms. Green, Frank (ed.), Heinemann Shakespeare (Oxford: Heinemann Educational, 1993). Annotated edition with staging suggestions intended for sixth forms. Holderness, Graham (ed.), Longman Study Texts (Harlow: Longman, 1990). Annotated edition with stage history designed for undergraduate students. Humphreys, A. R. (ed.), World’s Classics (Oxford: Oxford University Press, 1994). Compact annotated edition marketed to general readers and theatregoers. Mowat, Barbara, and Paul Werstine (eds), New Folger Library Shakespeare (New York: Washington Square Press, 1992). Modernised edition with historical context designed for High School students. Rigney, James (ed.), Shakespearean Originals: First Editions (Hemel Hempstead: Harvester Wheatsheaf, 1996). Annotated edition discusses editorial and performance deviations from the original First Folio text. Marketed to undergraduate students. Rosen, William, and Barbara Rosen (eds), Signet Classic Shakespeare (New York: New American Library, 1987). High School edition, updates 229 230 FURTHER READING

1963 Signet Classic with new bibliography and notes on later criticism and performance. Seward, Timothy (ed.), Cambridge School Shakespeare (Cambridge: Cambridge University Press, 1992). Modernised, illustrated edition with supplementary questions designed for pre-sixth form schoolchildren. Spevack, Marvin (ed.), New Cambridge Shakespeare (Cambridge: Cambridge University Press, 1988). Fully annotated text with compre- hensive stage history designed for postgraduate students. Wilson, Roderick (ed.), Macmillan Modern Shakespeare (Basingstoke: Macmillan Press – now Palgrave, 1985). Annotated edition designed for sixth forms and high schools.

SOURCES Bryant, J. A., ‘Julius Caesar from a Euripidean Perspective’, in Clifford Davidson, Rand Johnson and John Stroupe (eds), Drama and the Classical Heritage (New York: AMS Press, 1993), pp. 144–58. Considers the irony of the tragedy makes it a ‘problem play’ in the tradition of the Greek dramatist. Fleissner, Robert, ‘“Et tu, Brute?” … Or, Did Shakespeare Ever Utilize the Bodleian?’ Manuscripta, 39 (1995), 51–5. Proposes that Shakespeare saw an earlier version of the Caesar drama at Oxford. Miles, Gary, ‘How Roman are Shakespeare’s “Romans”’? Shakespeare Quarterly, 40 (1989), 257–83. Authenticates Shakespeare’s representation of ancient Rome. Mith, Robert, ‘Julius Caesar and The Massacre at Paris’, Notes and Queries, 44 (1997), 496–7. Opens possibility of play’s indebtedness to Marlowe’s bloody docu-drama on the French Wars of Religion. Parker, Barbara, ‘“A thing unﬁrm”: Plato’s Republic and Shakespeare’s Julius Caesar’, Shakespeare Quarterly, 44 (1993), 30–43. Proposes that Plato is the source of the fear of civic contamination and corruption that runs through the play. Piccolomini, Manfredi, The Brutus Revival: Parricide and Tyrannicide During the Renaissance (Carbondale and Edwardsville: South Illinois University Press, 1991). Situates Shakespeare’s play within Renaissance debate about justiﬁed assassination. Ronan, Clifford, ‘Lucan and the Self-Incised Voids of Julius Caesar’, in Clifford Davidson, Rand Jackson and John Stroupe (eds), Drama and the Classical Heritage (New York: AMS Press, 1993). Links play’s violent imagery and theme of fratricide to Latin writer. Sohmer, Steve, ‘What Cicero Said’, Notes and Queries, 44 (1997), 56–8. Relates play to Shakespeare’s possible knowledge of Euripides. Teague, Frances, ‘Letters and Portents in Julius Caesar and King Lear’, Shakespeare Yearbook, 3 (1992), 87–104. Describes the two tragedies as collage of scripts and quotations from earlier writers. Wells, Charles, The Wide Arch: Roman Values in Shakespeare (Bristol: Bristol Classical Press, 1993). Three chapters on the play discuss Shakespeare’s indebtedness to classical concepts of dictatorship, stoicism and friendship. FURTHER READING 231

CRITICISM Bloom, Harold, Major Literary Characters: Julius Caesar (New York, Chelsea House, 1994). Opinionated survey and selection of the play’s American humanist critics. Bono, Barbara, ‘The Birth of Tragedy: Tragic Action in Julius Caesar’, English Literary Renaissance [ELR], 24 (1994), 449–70. Feminist critique proposes that anxiety about Roman origins in the play expresses deeper fear of maternal control of reproduction. Bradley, Marshall, ‘Casca: Stoic, Cynic, and “Christian”’, Literature and Theology, 8 (1994), 140–56. Argues that Casca is Shakespeare’s inven- tion, devised to question the morality of the pre-Christian world. Burt, Richard, ‘“A Dangerous Rome”: Shakespeare’s Julius Caesar and the Discursive Determinism of Cultural Politics’, in Marie-Rose Logan and Peter Rudnytsky (eds), Contending Kingdoms: Historical, Psychological, and Feminist Approaches to the Literature of Sixteenth-Century England and France (Detroit: Wayne State University Press, 1991), pp. 109–27. See Introduction to this collection. Carducci, Jane, ‘Brutus, Cassius and Caesar in Shakespeare’s Julius Caesar: Language and the Roman Male’, Language and Literature, 13 (1988), 1–19. Discourse analysis explores how rhetoric in this tragedy turns back on its users. Cookson, Linda, and Bryan Loughrey (eds), Julius Caesar: Longman Critical Essays (Harlow: Longman, 1992). Collection of ten essays exam- ining play from different theoretical perspectives, abridged and intro- duced with notes for sixth formers. Drakakis, John, ‘“Fashion it thus”: Julius Caesar and the Politics of Theatrical Representation’, Shakespeare Survey, 44 (1992), 65–73. See Introduction to this collection. Fleissner, Robert, ‘The Problem of Brutus’s Paternity in Julius Caesar’, Hamlet Studies, 19 (1997), 109–13. Relates play to tradition that Brutus was Caesar’s illegitimate son and considers analogy with Hamlet. Gilbert, Anthony, ‘Techniques of Persuasion in Julius Caesar and Othello’, Neophilologus, 81 (1997), 309–23. Linguistic analysis explores verbal strategies that compel the audience of the plays into ironic collaboration. Girard, René, Collective Violence and Sacriﬁce in Shakespeare’s ‘Julius Caesar’ (Bennington: Bennington College Chapbooks in Literature, 1990). See Introduction to this collection. Gless, Darryl, ‘Julius Caesar, Allan Bloom, and the Value of Pedagogical Pluralism’, in Ivo Kamps (ed.), Shakespeare Left and Right (London: Routledge, 1991), pp. 185–203. Attacks conservative appropriations and argues for divergent readings of Julius Caesar in the multicultural campus. Goy-Blanquet, Dominique, ‘“Death or Liberty”: The Fashion in Shrouds’, Cahiers Elisabéthains, 38 (1990), 25–40. Argues that Cato’s suicide was an assertion of his human freedom, a self-determination denied Brutus. Greenhill, Wendy, Julius Caesar: The Shakespeare Library (Oxford: Heinemann Educational, 1995). Primer designed for pre-sixth form classes. 232 FURTHER READING

Hampton, Timothy, Writing from History: The Rhetoric of Exemplarity in Renaissance Literature (Ithaca, NY: Cornell University Press, 1990). Chapter on Julius Caesar interprets play, New Historicist-style, as battle of competing representations. See Introduction to this collection. Iselin, Pierre, and François Laroque (eds), Julius Caesar (Paris: Ellipses, 1994). Collection of seven essays considering play from different historicist and theoretical angles, together with bibliography by Gisele Venet. Designed for French graduate students. Kraemer, Don, ‘“Alas, thou hast misconstrued everything”: Amplifying Words and Things in Julius Caesar’, Rhetorica, 9 (1991), 165–78. Discourse analysis shows how speakers control reactions in the Forum scene. Maquerlot, Jean-Pierre, Shakespeare and the Mannerist Tradition: A Reading of Five Problem Plays (Cambridge: Cambridge University Press, 1995). Chapter (pp. 72–86) analyses play as ‘vertiginous parade of images’, and situates this ‘dramatic coquetry’ in relation to the disturbing perspective tricks of sixteenth-century painting. Marshall, Cynthia, ‘Portia’s Wound, Calphurnia’s Dream: Reading Character in Julius Caesar’, English Literary Renaissance, 24 (1994), 471–88. See Introduction to this collection. Miles, Geoffrey, Shakespeare and the Ancient Romans (Oxford: Clarendon Press, 1996). Scholarly discussion of Shakespeare’s representation of the classical world. Motohashi, Edward Tetsuya, ‘“The Suburbs of Your Good Pleasure”: Theatre and Liberties in Julius Caesar’, Shakespeare Studies, 26 (1988; pub. 1990). Considers Cassius’s cry of ‘Liberty, freedom, and en- franchisement!’ in relation to the material situation of the Bankside playgoers. Parker, Barbara, ‘The Whore of Babylon and Shakespeare’s Julius Caesar’, Studies in English Literature, 1500–1900, 35 (1995), 251–69. Examines the combination of sexual and religious anxieties that underlie the play. Paster, Gail Kern, ‘“In the spirit of men there is no blood”: Blood as Trope of Gender in Julius Caesar’, Shakespeare Quarterly, 40 (1989), 284–98. See Introduction to this collection. Rebhorn, Wayne, ‘The Crisis of the Aristocracy in Julius Caesar’, Renaissance Quarterly, 43 (1990), 75–111. See Introduction to this collection. Rose, Mark, ‘Conjuring Caesar: Ceremony, History, and Authority in 1599’, English Literary Renaissance [ELR], 19 (1989), 291–304. See Introduction to this collection. Sinﬁeld, Alan, Faultlines: Cultural Materialism and the Politics of Dissident Reading (Oxford: Clarendon Press, 1992). See Introduction to this collection. Sohmer, Steve, Shakespeare’s Mystery Play: The Opening Of the Globe, 1599 (Manchester: Manchester University Press, 1999). Numerological study locates Julius Caesar as play speciﬁcally written for inauguration of Globe playhouse on Midsummer Day 1599 Taylor, Gary, ‘Bardicide’, in Tetsuo Kishi, Roger Pringle and Stanley Wells (eds), Shakespeare and Cultural Traditions: Selected Proceedings of the FURTHER READING 233

International Shakespeare Association World Congress, Tokyo, 1991 (Newark: University of Delaware Press, 1992), pp. 333–49. See Introduction to this collection. Tice, Terence, ‘Calphurnia’s Dream and Communication with the Audience in Shakespeare’s Julius Caesar’, Shakespeare Yearbook, 1 (1990), 37–49. Psychoanalytic interpretation discusses how far concept of manic- depression can be applied to the play. Thomas, Vivian, Julius Caesar (Brighton, Harvester Wheatsheaf, 1992). Critical primer intended for undergraduate and sixth form students. Willson, Robert, ‘Julius Caesar: The Forum-Scene as Historic Play-within’, Shakespeare Yearbook, 1 (1990), 14–27. Discusses the stage/state metaphor in Shakespeare and refers this metadrama to audience expecta- tions of Julius Caesar. Wilson, Richard, Julius Caesar (Harmondsworth: Penguin Critical Studies, 1992). Explores play in light of a range of modern literary theories as a representation of the theatricality of power and the power of theatre. Wilson, Richard, ‘A Brute Part: Julius Caesar and the Rites of Violence’, Cahiers Elisabéthains, 50 (1996), 19–32. Reads play as inauguration of the Globe devised by son of Stratford butcher in the contexts of Renaissance riots and Roman sacriﬁce. Wilson, Richard, ‘A Savage Spectacle: Julius Caesar and the English Revolution’, in Francois Laroque (ed.), Histoire et Secret à la Renaissance (Paris, Presses de la Sorbonne Nouvelle, 1997), pp. 41–55. Considers how the play belongs to a genre of political prophecy which anticipated the English Civil War. Notes on Contributors

John Drakakis is Professor of English Studies at the University of Stirling. He has edited Alternative Shakespeares (1985), and the volume On Antony and Cleopatra in the Macmillan New Casebook series (1996); and has co-edited, with Naomi Liebler the volume on Tragedy in the Longmans Critical Studies series (1998). He is currently preparing an edition of The Merchant of Venice for the Arden 3 series. René Girard was born in Avignon, France. He holds a degree from the Ecoles des Chartes in Paris and a PhD from Indiana University. After a teaching career in the United States, he retired from Stanford University, California, in 1995. His many publications include translations from the French, such as Violence and the Sacred (1977), as well as books origi- nally published in English, notably Shakespeare: a Theater of Envy and The Girard Reader (1996). His works have been translated into more than twenty languages. Jonathan Goldberg is Sir William Osler Professor of English Literature at the Johns Hopkins University, Maryland. His most recent book is Desiring Women Writing: English Renaissance Examples (1997). Richard Halpern is Professor of English at the University of California at Berkeley and the author of two books: The Poetics of Primitive Accumulation (1991) and Shakespeare among the Moderns (1997). Naomi Conn Liebler is Professor of English at Montclair University, New Jersey. She is the author of Shakespeare’s Festive Tragedy: The Ritual Foundations of Genre (1995), and co-editor, with John Drakakis, of the volume on Tragedy for the Longmans Critical Studies series (1998). She is presently editing a collection of essays on the ‘female tragic hero’ in English Renaissance drama, and preparing a critical edition of Richard Johnson’s Seven Champions of Christendom. Cynthia Marshall is Professor and Chair of English at Rhodes College, Memphis, Tennessee, and is the author of a book and many articles on Shakespeare. She is currently preparing the volume on As You Like It in the series on Shakespeare in Production published by Cambridge University Press.

234 NOTES ON CONTRIBUTORS 235

Gail Kern Paster is Professor of English at George Washington University and editor of Shakespeare Quarterly. She is the author of The Idea of the City in the Age of Shakespeare (1986), and The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England (1993), and the co-editor of the volume on A Midsummer Night’s Dream in the Bedford Texts and Contexts series. She is currently preparing an edition of Thomas Middleton’s Michaelmas Term for the Revels Plays series. Wayne Rebhorn is the Celanese Centennial Professor of English at the University of Texas at Austin. Author of numerous articles on Renaissance writers, from Boccaccio to Milton, he has published four books: Courtly Performances: Masking and Festivity in Castigilione (1978); Foxes and Lions: Machiavelli’s Conﬁdence Men (1988); The Emperor of Men’s Minds: Literature and the Renaissance Discourse of Rhetoric (1995); and Renaissance Debates on Rhetoric (2000). He has received Fellowships from the American Council of Learned Societies and the Guggenheim Foundation and won the Howard Marraro Prize of the Modern Language Association of America in 1990. Gary Taylor is Professor of English and Director of the Hudson Strode Programme in Renaissance Studies at the University of Alabama, Montgomery. His many publications include Reinventing Shakespeare (1990), Cultural Selection (1996), and Castration: An Abbreviated History of Western Manhood (2000). He is the co-editor, with Stanley Wells, of the Oxford Complete Works of William Shakespeare and editor of the Oxford Collected Works of Thomas Middleton. Richard Wilson is Professor of Renaissance Studies at the University of Lancaster and the 2001 Sorbonne Shakespeare Professor at the University of Paris (III). He is author of a critical study of Julius Caesar (1992) and Will Power: Essays on Shakespearean Authority (1993); editor of the volume on Christopher Marlowe in the Longmans Critical Studies series (1999); and co-editor, with Richard Dutton, of the volume on New Historicism and Renaissance Drama in the same series (1993). His Secret Shakespeare: Essays on Religion and Resistance is forth- coming from Manchester University Press. He gave the 2001 British Academy Shakespeare Lecture on ‘Shakespeare’s Sense of an Exit’. Index

Addison, Joseph, 22 Blits, Jan, 53 Adelman, Janet, 152–4, 168 Bloom, Harold, 231 Adorno, Theodor, 210 Blount, Charles, 45 Aeschylus, 218 Bon, Gustave le, 195, 216, 219 Aithusser, Louis, 84 Bono, Barbara, 231 Anatomy theatre, 17–18, 70–1, Bourdieu, Pierre, 21, 28 150–1, 177 Braden, Gordon, 34, 59 Arden, Edward, 3 Bradley, Marshall, 231 Arden, Mary, 3 Brecht, Berthold, 10 Auffret, Jean, 52 Bristol, Michael, 60, 226 Augustus, 61, 92 Brower, Reuben, 107, 173, 185 Aylett, Robert, 200, 208 Brunt, P. A., 227 Bruyn, Lucy de, 51 Bacon, Francis, 44–6, 191 Bryant, J. A., 230 Baker, M., 148 Burckhardt, S., 148 Bakhtin, Mikhail, 9, 89–90, 150, Burke, Peter, 57–8, 145 167, 219–20, 222–3 Burt, Richard, 11, 227, 231 Baldwin, T. W., 206 Bynum, Caroline Walker, 150, 153, Bancroft, Richard, 190 162, 168–9, 167 Barber, C. L., 167 Byron, George Gordon, Lord, 195 Barish, Jonas, 79 Barker, Francis, 14–15, 56, 71–2 Caligula, 6, 34 Barker, Richard, 209 Canetti, Elias, 15–16 Barroll, Leeds, 145 Cantor, Paul, 51, 107 Barthes, Roland, 2, 10, 79, 170–1, Carducci, Jane, 231 177, 179 Carleton, Dudley, 93 Barton (Righter), Anne, 64, 87, 106 Caxton, William, 45 Beard, Thomas, 86 Cavell, Stanley, 107 Beier, Lee, 60 Cecil, Robert, 47–8 Belsey, Catherine, 7–8 Cecil, William, 48 Benjamin, Walter, 20 Chamberlain, John, 93 Bernheimer, Charles, 176 Champion, L., 146 Berry, Ralph, 187 Charcot, Emile, 177 Blau, Herbert, 186–7 Charney, Maurice, 150, 187–229

236 INDEX 237

Chatterton, Thomas, 191, 195 Fletcher, John, 191, 203 Choan Revolt, 65 Foakes, R. A., 52 Churchyard, Thomas, 194 Ford, Boris, 87 Cicero, 30, 193 Foucault, Michel, 3–4, 9, 58–9, Cixous, Hélène, 18, 177, 180, 186 106, 176–7, 196 Claar, Emile, 196 Freedman, Barbara, 1–2 Clark, Peter, 58 Freud, Sigmund, 12, 63, 79–80, Cookson, Linda, 231 176–7, 179, 195 Cordle, Francis, 47 Frye, Northrop, 14 Cornwallis, William, 53 Fulbecke, William, 86 Cortez, Hernan, 73 Cox, Alex, 78 Gamble, Peter, 53 Crawford, Patricia, 167 Garber, Marjorie, 12–13 Cressy, David, 51 Gentleman, Francis, 227 Cromwell, Oliver, 8, 71–2, 134 Gerenday, Lynn de, 50–1, 146, Cunningham, Bernadette, 206 187 Gilbert, Anthony, 231 Davies, John, 83 Gill, Roma, 229 Davis, Nathalie Zemon, 63 Girard, René, l4–16, 108–27, 167 Dekker, Thomas, 62 231 Derrida, Jacques, 61, 67–9, 81, Gless, Darryl, 231 128, 130, 145 Globe Theatre, 5, 8–10, 22, 55–88, Dollimore, Jonathan, 65, 81 79–82, 148, 204, 228 Donne, John, 199 Goldberg, Jonathan, 11–12, 52, Dorsch, T. S., 172–3 92–107 Dove, John Roland, 53 Gower, John, 129 Drakakis, John, 9–10, 77–91, 231 Goy-Blanquet, Dominique, 231 Duffy, Eamonn, 146 Granville-Barker, Harvey, 146 Dutch Revolt, 3, 65 Gray, Thomas, 195 Green, Frank, 229 Easthope, Antony, 89 Greenblatt, Stephen, 4, 65 Eastwood, Clint, 77–8 Greene, Gayle, 53, 187 Eccles, Audrey, 167 Greenhill, Wendy, 231 Eco, Umberto, 60–1 Greville, Fulke, 30, 39, 44 Egerton, Thomas, 46–7 Elias, Norbert, 157, 168 Habermas, Jürgen, 22, 210–12, Eliot, T. S., 210 217, 223–4, 226 Elizabeth I, 2–5, 21, 45–50, 160 Halpern, Richard, 22–3, 210–28 Erasmus, 52 Hampton, Timothy, 13–14, 232 Esler, Anthony, 45, 53 Hannibal, 30 Essex Rebellion, 5–6, 45–50, 51 Hapgood, Robert, 203 Evil May Day Riots, 57–8 Harrison, Mark, 206 Harrison, William, 30 Faber, M. D., 175, 186 Hartsock, Mildred, 50 Fabian, Johannes, 180, 186 Hassell, R. C., 148 Finlay, John, 221 Havel, Vaelev, 193 Fisch, Harold, 177, 183 Hawthorne, Nathaniel, 195 Fiston, Thomas, 45 Heinemann, Margot, 199, 207 Fleissner, Robert, 230, 231 Henslowe, Philip, 57 238 INDEX

Herrick, Robert, 64 Laqueur, Thomas, 151–2 Heywood, John, 138 Laroque, François, 145, 232 Heywood, Thomas, 78, 95–6 Leavis, F. R., 210 Hill, Christopher, 6–7, 57, 64, 72 Leggatt, Alexander, 22–3 Hitler, Adolf, 1l–2, l5, 195 Leicester, Earl of 45 Hobbes, Thomas, 7 Leopardi, 195 Hobsbawm, Erie, 192, 205 Lermontov, Mikhail, 195–6 Hogarth, William, 59 Lettieri, Ronald, 52 Holderness, Graham, 229 Levin, Richard, 209 Holland, Philemon, 78, 132 Levitsky, Ruth, 52 Holquist, Michael, 85 Lewalski, Barbara, 199, 208 Homer, 73 Liebler, Naomi Conn, 16–17, Horkheimer, Max, 210 128–48 Howard, Jean, 226 Linton, David, 206 Hugo, Victor, 195 Lippmann, Walter, 215 Humphreys, A. R., 229 Loughrey, Brian, 231 Luce, Richard, 87 Ireland, bards of, 194–5, 198, 201, Lupercalia, feast of, 9–10, 16–17, 206–7 63–4, 71, 128–45 Iselin, Pierre, 232 McLaren, Dorothy, 162, 169 James I, 92–106, 162–3, 201 MacLean, Ian, 151, 167 Jameson, Frederic, 51, 80 Maclierey, Pierre, 80, 89 Jonson, Ben, 190, 209 Mankiewicz, Joseph, 2, 170–1 Jowett, John, 209 Manning, Brian, 206 Mapplethorpe, Robert, 190, 196 Kantorowicz, Ernst, 11–12, 26 Maquerlot, Jean-Pierre, 232 Kaula, David, 161, 169 Marlowe, Christopher, 45, 84, 90, Kayser, John, 52 230 Kearney, Colbert, 50 Marshall, Cynthia, 18–19, 170–87, Keats, John, 195–6 232 Kemble, John Philip, 220–1 Marx, Karl, 12–13, 24 Kernan, Alvin, 208 Mary Stuart, Queen of Scots, 3 Kett’s Rebellion, 57–8 Middleton, Thomas, 22, 196–202, Kirsch, Arthur, 209 208–9 Kirschbaum, Leo, 147, 178, 186 Miles, Gary, 230 Kleist, 195 Miles, Geoffrey, 232 Knight, G. Wilson, 11, 40, 53, Mills, C. Wright, 212 106–7, 173, 185 Milton, John, 191, 199 Kornstein, Daniel 23 Miola, Robert, 6–7, 51, 90, 174, Kott, Jan, 15 185 Kraemer, Don, 232 Mith, Robert, 230 Kranz, David, 174 Montaigne, Michel de, 13, 126, Kristeva, Julia, 175, 181, 186 200–1 Ku Klux Klan, 65 Montrose, Louis, 51, 168 Motohashi, Edward Tetsuya, 232 Ladurie, Emmanuel Le Roy, 65 Mowat, Barbara, 229 Lamos, Mark, 190 Mullaney, Steven, 61, 79 Landor, Walter Savage, 195 Murnaghan, Sheila, 179, 186 INDEX 239

Nashe, Thomas, 57–8, 61, 190, Robespierre, 20 197, 201, 204 Romans, Carnival Massacre at, 58, Naunton, Robert, 45 65 Nero, 6, 34, 52, 78, 96 Ronan, Clifford, 174, 185, 230 New Historicism, 4–5, 11, 20–1, Rorty, Richard, 185 31–2, 106 Rose, Mark, 10–11, 89, 232 Nietzsche, Friedrich, 12, 189, Rosen, Barbara, 51, 229 203–4 Rosen, James, 51, 229 Nixon, Richard, 23 Rowley, William, 199 North, Thomas, 78, 129 Rubin, Gayle, 169 Novalis, 195 Rubinstein, Frankie, 169 Rude, George, 192, 205 Orpheus, 189, 191, 197, 199–200, Rushdie, Salman, 201 204–5 Ovid, 129–30, 133, 189 Sacharoff Mark, 53 Sawday, Jonathan, 76 Palmer, G., 148 Saxe-Meiningen, Duke of, 193, Parker, Barbara, 230, 232 195 Pascal, Blaise, 126 Scarry, Elaine 178, 180, 186 Paster, Gail Kern, 17–1 8, 147, Schanzer, Ernst 25, 83, 146 149–69, 174, 186, 232 Schmidgall, Gary 208 Pater, Walter, 196 Schoenbaum, Samuel 200, 208 Patterson, Annabel, 8, 14, 205, 226 Scipio 30 Peasants’ Revolt, 57–8 Scott, Walter, 195, 207 Pechter, Edward, 24 Scott, William, 183 Pembroke, Countess of, 199 Seneca, 34, 52, 78, 87 Perrot, John, 194 Serpieri, Alessandro, 17, 169, 177, Peterson, Douglas, 50 186 Petrarch, 30 Seward, Timothy, 230 Phillips, James, 50 Shakespeare, John, 3 Piccolomini, Manfredi, 230 Shakespeare, William: Plato, 61 Antony and Cleopatra, 40, 94 Platter, Thomas, 10, 55–6, 59, 79, As You Like It, 32–3, 61, 206–7 148 Coriolanus, 86–7, 107, 152–6, Plutarch, 21, 66, 78, 122, 129–33, 161, 163, 169, 213, 218 136–7, 140, 142, 145–7, Hamlet, 3–6, 12, 18–20, 29–30, 160–1, 168, 180, 185, 188–92, 56, 96, 153, 183, 198 194, 202–3 Henry IV, Part One, 60 Poe, Edgar Allen, 195 Henry IV Part Two, 147 Prior, Moody, 50 Henry V, 46, 81, 107, 203, Pushkin, 195–6 206–7 Henry VI, Part Two, 195, Rabkin, Norman, 50–1, 146–7 217–18, 227 Rebborn, Wayne, 4–6, 29–54, 232 King Lear, 142, 178, 230 Rembrandt, 70–1 Love’s Labour’s Lost, 198 Rhodes, Neil, 208 Macbeth, 168, 174, 178 Ribner, Irving, 50–l Merchant of Venice, 203 Rice, Julian, 52–3 Midsummer Night’s Dream, 55, Rigney, James, 229 60, 178, 198, 203 240 INDEX

Shakespeare, William: continued Tarde, Gustave, 219 Rape of Lucrece, 198, 203 Tarlton, Richard, 56 Richard II, 5, 81 Tarquin, l6, 36, 121–2, 124, l41 Richard III, 206–7 Taylor, Gary, 20–2, 188–209, 232 Romeo and Juliet, 61 Teague, Frances, 230 The Tempest, 61, 198 Thomas, Vivian, 233 Timon of Athens, 198 Thompson, Edward, 192, 205 Titus Andronicus, 14, 154–5, Throeckmorton Plot, 2–3 160–1, 165, 203 Tiberius, 34, 93 Troilus and Cressida, 99, Tice, Terence, 233 110–12, 153, 161 Todorov, Tzvetan, 73 Twelfth Night, 61 Tricomi, Albert, 154, 168, 208 Two Gentlemen of Verona, 53, Tulp, Nicholas, 70–1, 76 203 Tupper, Frederick, 216–17 Two Noble Kinsmen, 53 Venus and Adonis, 198 Vauter, Marvin, 53 The Winter’s Tale, 138 Vautroullier, T., 129 Shelley, Percy, 195–6 Vega, Lope de, 196, 207 Sidney, Henry, 194 Velz, John, 51, 145, 147 Sidney, Philip, 21, 30–2, 39, 45–6, Vigny, Alfred de, 191 190, 194, 199 Virgil, 32–3, 189, 199, 203 Siemon, James, 19, 187 Voltaire, 214–16 Simmons, J. L., 106–7 Volosinov, V. N., 79–81 Sinﬁeld, Alan, 19–21, 81, 232 Slack, Paul, 206 Walch, Gunther, 90–1 Smith, Bruce, 24 Warwickshire, 2–3, 143–5 Smith, Gordon Ross, 53 Wecimann, Robert, 9, 82 Smith, Hilda, 167 Welles, Orson, 190–1, 216 Smith, Lacey Baldwin, 47, 54 Wells, Charles, 230 Smith, Thomas, 30 Werstine, Paul, 229 Sohmer, Steve, 230, 232 Whigham, Frank, 51 Somerville, John, 3, 6 Whitaker, Virgil, 50 Southampton, Earl of, 48, 198 Whitgift, Archbishop, 190 Spencer, Tecrence, 50–1, 107, Wilde, Oscar, 196 145 Will, Caesar’s, 8, 12–13, 66–70, Spenser, Edmund, 30–1, 194, 104–5 199 Wilson, Arthur, 92 Spevack, Marvin, 204, 230 Wilson, Edmund, 207 Sprengnether, Madelon, 169, 174 Wilson, John Dover, 79 Spriet, Pierre, 51 Wilson, Richard, 8–9, 13, 55–76, Stallybrass, Peter, 150, 167 82, 89–90, 134, 145–6, 164, Stapfer, Paul, 193, 206 168, 205, 213, 226, 233 Stewart, J. I. M., 52 Wilson, Robert, 233 Stirling, Brents, 218 Wilson, Roderick, 230 Stone, Lawrence, 5, 48–50 Wittgenstein, Ludwig, 62 Stow, John, 63 Strachniewski, John, 199, 208 Yoder, R. A., 51 Strong, Roy, 168 Stubbes, Philip, 57 Zola, Emile, 195, 207 Suetonius, 78 Zucker, David, 77–8

Further Reading