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Sederi 30 2020 EDITOR Ana Sáez-Hidalgo REVIEW EDITOR María José Mora PRODUCTION EDITORS Sara Medina Calzada Tamara Pérez Fernández Marta Revilla Rivas We are grateful to our collaborators for SEDERI 30: Leticia Álvarez Recio (U. Sevilla, SP) Antonio Ballesteros (UNED, SP) Gerd Bayer (University of Erlangen, DE) Francisco J. Borge López (U. Oviedo, SP) Gordon Campbell (U. Leicester, UK) Marta Cerezo Moreno (UNED, SP) Agustín Coletes Blanco (U. Oviedo, SP) William Eamon (New Mexico State University, US) Jonathan Gibson (Open University, UK) Manuel Gómez Lara (U. Sevilla, SP) Andrew Hadfield (U. Sussex, UK) Sonia Hernández Santano (U. Huelva, SP) Derek Hughes (U. Aberdeen, UK) Clark Hulse (U. Illinois at Chicago, US) John Jowett (Shakespeare Institute, U. Birmingham, UK) James Knapp (Loyola U., Chicago, US) Gregory Kneidel (U. Connecticut, US) Alberto Lázaro Lafuente (U. Alcalá de Henares, SP) Philip Lorenz (Cornell U., US) Zenón Luis Martínez (U. Huelva, SP) Joseph Ortiz (U. Texas at El Paso, US) Deborah Payne (American U., US) José A. Pérez Díez (U. Leeds, UK) José Mª Pérez Fernández (U. Granada, SP) Reme Perni (U. Alicante, SP) Jonathan Post (U. California at Los Angeles, US) Francesca Rayner (U. Minho, PT) Jonathan Sell (U. Alcalá de Henares, SP) R.F. Yeager (U. West Florida, US) Cinta Zunino (U. Jaén, SP) Sederi 30 (2020) Table of contents Articles Luis Javier Conejero-Magro The School of Salamanca in the sixteenth century and the way kingship is canvassed in Shakespeare’s Richard II ................................................................... 7–28 Isabel de la Cruz Cabanillas The Secrets of Alexis in Glasgow University Library MS Ferguson 7 ................. 29–46 Joan Curbet Soler Writing and weaving: The textual and the textile in Spenser´s 1590 Faerie Queene, III.i ............................................................................................................................ 47–68 Irene Montori Representing creation, experiencing the sublime: The Longinian tradition in Tasso and Milton ................................................................................................................ 69–89 Katherine Romack The romance of Nahum Tate’s King Lear ............................................................ 91–115 Sonia Villegas López Truth and wonder in Richard Head’s geographical fictions ............................ 117–37 Reviews Magdalena Cie lak, Screening Gender in Shakespeare’s Comedies: Film and Television Adaptations in Shakespeare’s Comedies (by Coen Heijesś ) ................................................................................................... 141–44 Neil Corcoran, Reading Shakespeare’s Soliloquies: Text, Theatre, Film, and Efertpi Mitsi, ed., Troilus and Cressida. A Critical Reader (by Jonathan P. A. Sell) ........................................................................................ 145–50 Mark Hutchings, ed., The Changeling. A Critical Reader (by Cinta Zunino-Garrido) .................................................................................. 151–55 María José Mora, ed., Restoration Comedy, 1671–1682 (by Sonia Villegas López) .................................................................................... 157–62 Charles Ney, Directing Shakespeare in America. Historical Perspectives (by Víctor Huertas Martín) .................................................................................. 163–67 Patricia Parker, Shakespearean Intersections: Language, Contexts, Critical Keywords (by Zenón Luis-Martínez) ................................................................................... 169–76 Ángel-Luis Pujante, Shakespeare llega a España: Ilustración y Romanticismo (by Jesús Tronch) .................................................................................................. 177–81 Performance Reviews West Side Story (2018–2020) (by Víctor Huertas Martín) .................................................................................. 183–88 About Sederi ................................................................................................................. 189–90 Submission guidelines ................................................................................................. 191–92 Style sheet and notes for contributors ....................................................................... 193–95 Articles The School of Salamanca in the sixteenth century and the way kingship is canvassed in Shakespeare’s Richard II Luis Javier Conejero-Magro Universidad de Extremadura, Spain ABSTRACT Although there appears to be no direct evidence that Shakespeare had access to the relectiones taught in the School of Salamanca during the sixteenth century, this study demonstrates that, forty years after their dissemination, the theories of Francisco Vitoria and his disciples were probably in circulation throughout England. The methodology in this article juxtaposes Shakespeare’s Richard II with one of Vitoria’s relectiones. This relectio modified the medieval idea of the divine origin of kingship, and generated a discussion about the origin of royal power which is central to the plot of Shakespeare’s play. KEYWORDS: Shakespeare; School of Salamanca; Richard II; kingship; Anglo- Spanish textual relations. La Escuela de Salamanca en el siglo XVI A Escola de Salamanca no século XVI e y el modo en que se obtiene la realeza a forma como a realeza é obtida em en Richard II, de Shakespeare Richard II, de Shakespeare* RESUMEN: Aunque parece que no existen RESUMO: Apesar de parecer não haver pruebas de que Shakespeare conociera provas diretas de que Shakespeare tenha las relectiones que se enseñaron en la conhecido as relectiones ensinadas na Escuela de Salamanca en el siglo dieci- Escola de Salamanca durante o século séis, este estudio demuestra que, cuaren- XVI, este estudo demonstra que, quarenta ta años después de su divulgación, las anos após a sua divulgação, as teorias de teorías de Vitoria y de sus discípulos se Vitoria e dos seus discípulos provavel- encontraban en circulación por Europa. mente se encontravam a circular por toda La metodología de este artículo yuxtapo- a Inglaterra. A metodologia deste artigo ne la obra de Shakespeare, Richard II, con justapõe Richard II de Shakespeare a uma una de las relectiones de Vitoria. Esta das relectiones de Vitoria. Esta relectio relectio cambió la idea medieval del ori- alterou a ideia medieval da origem divina gen divino de la majestad y generó un da realeza e gerou uma discussão sobre a debate sobre el origen del poder real, que origem do poder real que é central para o resulta tan importante para la urdimbre enredo da peça de Shakespeare. dramática de Shakespeare. * Translation into Portuguese by Miguel Ramalhete. Sederi 30 (2020): 7–28 https://doi.org/10.34136/sederi.2020.1 Conejero-Magro PALABRAS CLAVE: Shakespeare; Escuela PALAVRAS-CHAVE: Shakespeare; Escola de Salamanca; Richard II; realeza; rela- de Salamanca; Richard II; realeza; relações ciones textuales anglo-españolas textuais anglo-espanholas. 1. Introduction One of the most quoted historico-political anecdotes concerning Shakespeare’s Richard II is the well-known controversy generated by the performance of the play on the eve of the Essex Rebellion during Elizabeth I’s reign. As Paul E. J. Hammer recounts, “on the afternoon of 7 February 1601 […] the Lord Chamberlain’s Men certainly staged a play ‘of Kyng Harry […] and of the kyllyng of Kyng Richard the Second’ at the insistence of certain gentlemen who” paid Shakespeare’s company forty shillings above the normal rate to perform the play (2008, 1). The identity of the play in question remains uncertain. However, the collective beliefs and experiences represented on stage were clearly considered to carry such literary weight as to convey a convincing argument for the legitimacy of Essex’s cause to the audience, and therefore ultimately to the English people. The play must have been understood as a paean to the earl of Essex. As it transpired, on February 8th, Essex unsuccessfully marched on London with hundreds of armed men and was later beheaded. Almost a century later, in the 1680s, Charles II would suppress the controversial play (Kantorowicz 1957, 41). It is acknowledged that Shakespeare “was working within a tradition of English history writing” (Hadfield 2004, 55) and therefore it is not difficult to draw a “parallel between the events of Richard’s last years and those of the ageing queen” (Moseley 2009, 95). It would be pointless here to reiterate the details of this issue, which have been more than amply explored. It is nevertheless common knowledge that, when “in 1601 the historian William Lambarde was showing Elizabeth the fruits of his researches in the royal archives and arrived at the time of Richard II, [Elizabeth I] broke in: ‘I am Richard II. Know ye not that? […]’” (Moseley 2009, 95). Despite the rampant rumor that Elizabeth I had compared herself to Richard II, pace most scholars, this seems unlikely (Clegg 1999, 123).1 This disputed event serves to illustrate the tortuous 1 For an in-depth study upon the representation of history during the Renaissance, see Woolf (2000), especially pages 32–35. 8 Sederi 30 (2020) paths of the knowledge transfer process, which can never be fully verified. As will be explained, this essay deals with comparative semiospherics in order to explain such knowledge transfer processes. What is not in question here is Shakespeare’s interest in history and his concern with “the effects of government on the wider populace” (Hadfield
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