Richard C. McCoy Department of English Ph.D. Program in English Queens College, CUNY Graduate Center, CUNY Flushing, NY 11367 365 Fifth Avenue 718 997-4600 , NY 10016 212 817-8332

EDUCATION Ph.D., University of California, Berkeley 1975 B.A., 1968

EMPLOYMENT Professor of English, Queens College and Graduate Center, CUNY 1989- Personnel and Budget Committee, Queens College 2011-14 Curriculum Committee, English Department, Queens College 2002-11 Honors Committee, Queens College 2002-10 Director, Honors Program in the Humanities, Queens College 2000-7

Executive Committee, English Program, Graduate Center 1991-Present Member, Faculty Membership Committee 2006-Present Chair, Faculty Membership Committee, English Program, Graduate Center 2006-10 Admissions Committee, English Program, Graduate Center 2003-6 Student Progress Officer 1998-0 l

Acting Executive Officer, Ph.D. Program in English, Graduate Center, CUNY 1996 Deputy Executive Officer, Ph.D. Program in English, Graduate Center, CUNY 1991-96 • Chair, Admissions & Financial Aid, English Program, Graduate Center 1991-95 • Coordinator, Course Assigrunents, English Program, Graduate Center 1991-95 • Curriculum Committee, English Program, Graduate Center 1994-00 • Faculty Membership Committee, English Program, Graduate Center 1990-94 • Co-author, Report on the Future of the Ph.D. Program in English 1991-92 • Organizer, Annual Shakespeare Institute, Graduate Center 1991-04 • Presidential Search Committee, Graduate Center 1990-91

Visiting Professor of English, Princeton University 1997 Visiting Professor of English and American Literature, 1988-89 Beijing University, China Associate Professor of English, Graduate Center, CUNY 1986-89 Associate Professor of English, Queens College, CUNY 1983-89 Assistant Professor of English, Queens College, CUNY 1979-83 Mellon Research Fellow and Lecturer, 1977-79 Teacher, Lenox School, New York, NY 1976-77

PUBLICATIONS: BOOKS Faith in Shakespeare (New York: Oxford University Press, 2013). Alterations of State: Sacred Kingship in the English Reformation. (New York: Columbia University Press, 2002). Honorable Mention, Association of American Publishers, Richard C. McCoy 2

Scholarly Publishing Division Awards. The Rites of Knighthood: The Literature and Politics of Elizabethan Chivalry. (Berkeley: University of California Press, 1989). Sir : Rebellion in Arcadia (New Brunswick: Rutgers University Press, 1979). Nominated for the James Russell Lowell prize, the Explicator Literary Foundation Award, and the Northeastern Graduate Schools Association Award, 1980. CURRENT PROJECT: Shakespeare's Clowns: Mockery and Mimesis. My current project is a study of Shakespeare's major comic figures - his fools, clowns, and jokers - and the challenges they pose to dramatic decorum and plausibility. Hamlet's instructions to the players are pertinent and often taken as a statement of Shakespeare's own artistic convictions. In Hamlet 3.2, histrionics that "tear a passion to tatters" and imitate "humanity so abominably" are repudiated, and naturalism that holds ''the mirror up to nature" is endorsed. Hamlet is especially determined that "clowns speak no mote than is set down for them" rather than improvising for vulgar laughs, insisting "That's villainous, and shows a most pitiful ambition in the fool that uses it." Many discern in this speech a final rejection of Will Kemp,just departed from Shakespeare's company. Kemp had been a popular entertainer and established celebrity. He starred as the endearingly megalomaniac Bottom in Midsummer Night's Dream and the charming scoundrel Falstaff in Henry IV, l and 2, but his bawdy jigs and unruly improvisationreflected an older, more disruptive comic style. He left Shakespeare's company in 1599, embarking soon after on a cross-country solo song-and-danceperformance. Robert Armin replaced him, displaying a more subtle and sardonic wit as Touchstone in As You Like It, Feste in Twelfth Night, and the Fool in King Lear. Nevertheless, all these comic figures remain wryly detached from the action, frequently breaking through the "fourth wall" by directly addressing the audience and providing sardonic commentary on the other characters' follies. I will use recent scholarly advances in theater history to compare the styles of these two principal actors in Shakespeare's company and explore contemporary audience response. I will also consider the persistent detachment and aggressive mockery that enable comedians to stand outside the action in performances of all periods. The book will discuss the paradoxical impact of the clown's ridicule on dramatic verisimilitude and our appreciation of comedy.

PUBLICATIONS: ARTICLES "Awakening Faith in The Winter's Tale," Shakespeare and Early Modern Religion, eds. David Loewenstein and Michael Witmore (Cambridge: Cambridge University Press, forthcoming 2014) "Miracles and Mysteries in The Comedy of Errors," Shakespeare and Religion: Early Modern and Postmodern Perspectives, ed. Ken Jackson and Arthur Marotti (Notre Dame: University of Notre Dame Press, 2011), 79-96. "Law Sports and the Night of Errors: Shakespeare and the Inns of Court," The Intellectual and Cultural World of the Early Modern Inns of Court, ed. Jayne Elisabeth Archer, Elizabeth Goldring, and Sarah Knight (Manchester University Press, 2010), 286-301. '"The Tragedy of the Handkerchief: Objects Sacred and Profane in Shakespeare's Richard C. McCoy 3

Othello," Medieval and Early Modern Devotional Objects in Global Perspective: Translations of the Sacred, ed. Elizabeth Robertson and Jennifer Jahner (London: Palgrave Macmillan, 2010), 155-166. "Church and State in the New World," The World of 1607. An essay for the Jamestown Centenary catalogue, ed. David Armitage (Jamestown, VA: Jamestown-York Foundation, 2007): 242-248 "Spectacle and Equivocation in Macbeth," Spectacle and Public Performance in the Late Middle Ages and the . Ed. Robert E. Stillman (Leiden: Brill, 2006), 145-156. "'The Grace of Grace' and Double-Talk in Macbeth." Shakespeare Survey 57 (2004): 27-37. "Shakespearean Tragedy and Religious Identity." The Blackwell Companion to Shakespeare's Tragedies. Ed. Jean Howard and Richard Dutton (Oxford: Blackwell, 2003) 290-325. "Shakespeare and Kingship." Guide to the Season's Plays (Washington D.C.: The Shakespeare Theatre, 2003): 8-12 "'Look Upon Me Sir': Relationships in King Lear," Representations, 81 (2003): 46-60. "A Wedding and Four Funerals: Conjunction and Commemoration in Hamlet." Shakespeare Survey 54 (2001): 122-139. "Loves Martyrs: Shakespeare's 'Phoenix and Turtle' and the Sacrificial Sonnets." Religion and Culture in Renaissance England. Ed. Debora Shuger and Claire McEachem (Cambridge: Cambridge University Press, 1997), 188-208. "Eulogies to Elegies: Poetic Distance in Spenser's April Eclogue." Soundings of Things Done: Essays in Honor of S. K. Heninger. Ed. Peter E. Medine and Joseph Wittreich (Newark: University of Delaware Press, 1997), 52-69. "Old English Honour in an Evil Time: Aristocratic Principle in the 1620s." Ed. R. Malcolm Smuts, ed. The Stuart Court and Europe. (Cambridge: Cambridge University Press, 1996), 133-156. "Lords of Liberty: Francis Davison and the Cult ofElizabeth." The Reign of Elizabeth I: Court and Culture in the Last Decade. Ed. John Guy (Cambridge: Cambridge University Press, 1995), 212-228. "Sixteenth Century Lyric Poetry." The Columbia History of British Poetry. Ed. Carl Woodring. (New York Columbia Press, 1994), 179-202. "'The Wonderful! Spectacle': The Civic Progress and Troublesome Coronation of Elizabeth I." Coronations: Medieval and Early Modern Monarchic Ritual. Ed. Janos M. Bak. (Berkeley: University of California Press, 1990), 217-227. "Sir Philip Sidney and Elizabethan Chivalry." Sir Philip Sidney's Achievements. Ed. M. J.B. Allen, Dominic Baker-Smith, Arthur F. Kinney (New York: AMS Press, 1990), 32-41. "'Thou Idol Ceremony': Elizabeth I, the Henriad, and the Rites of the English Monarchy." Urban Life in the Renaissance. Ed. Susan Zimmerman and Ronald F. E. Weismann (Newark: University of Delaware Press, 1989), 240-266. "Gascoigne's 'Poemata Castrata': The Wages of Courtly Success." Criticism 27 (1985): 29-55. "From the Tower to the Tiltyard: Robert Dudley's Return to Glory." Historical Journal 27 (1984): 425-435. Richard C. McCoy 4

"'A Dangerous Image': The Earl of Essex and Elizabethan Chivalry." The Journal of Medieval and Renaissance Studies 13 (1983): 313-329.

PUBLICATIONS: REVIEWS Fiero Boitani, The Gospel According to Shakespeare, Renaissance Quarterly (Forthcoming) Adrian Streete. Protestantism and Drama in Early Modern England. Shakespeare Quarterly, 63.1 (Spring, 2012) Edward Fechter. Shakespeare Studies Today: Romanticism Lost Shakespeare Quarterly, 63.2 (Fall, 2012) Alice Hunt, The Drama of Coronation: Medieval Ceremony in Early Modern England, Renaissance Quarterly, 62 (2009): 1006-1008. Oliver Arnold, The Third Citizen: Shakespeare's Theater and the Early Modern House of Commons, Comparative Drama 42 (2008): 250-253 Judith Anderson, Translating Investments: Metaphor and the Dynamic of Cultural Change in Tudor-Stuart England, Spenser Review (2007) Tom Betteridge, Literature and Politics in the English Reformation, The Journal of Ecclesiastical History 57 (2006): 151-152 "Take Pains, Be Perfect": Bottom as Actor in Midsummer Night's Dream Quarterly 58 (2005): 1443-1444 Richard A. McCabe, Spenser's Aionstrous Regiment: Elizabethan Ireland and the Poetics of Difference, Renaissance Quarterly 57 (2004): 390-1. "Recent Studies in the English Renaissance," Omnibus Review, Studies in English Literature 1500-1900 39 (2000): 157-188. J. R. Mulryne and Margaret Shewring, eds., Theatre and Government under the Early Stuarts and Matthew Wik:ander, Princes to Act: Royal Audience and Royal Performance, 1578-1792. Shakespeare Quarterly 46 (1995): 98-103. Katherine Duncan-Jones, Sir Philip Sidney: Courtier Poet and Alan Hager, Dazzling Images. Modern Philology 91 (1994): 351-354 Catherine Bates, The of Courtship in Elizabethan Language and Literature, Patricia Fumerton, Cultural Aesthetics, and Steven W. May, The Elizabethan Courtier Poets. Review 16 (1994): 313-327. S. K. Heninger, Sidney and Spenser: The Poet as Maker. Comparative Literature 45 (1993): 288-291. Philippa Berry, Of Chastity and Power. Renaissance Quarterly 45 (1992): 169-171.

RECENT PAPERS AND PRESENTATIONS "Wonders and Shadows: Shakespeare's Double Vision," Bernard Beckerman Lecture, Shakespeare Seminar, Columbia University, November, 2013. '"Take Pains, Be Perfect': Bottom as Actor in Midsummer Night's Dream," English Faculty, Oxford University and English Language and Literature, University of Glasgow, May 2013. "Cymbeline and the Late Romances," Celebrated Writers Series, Stratford Shakespeare Festival, Ontario, July, 2012. "Faith in Shakespeare," Ruth Carpenter Lectures, Shakespeare Society, New York, May 2012 Richard C. McCoy 5

"Shakespeare, Coleridge, and Poetic Faith: Beyond the Religious Turn," Speaker and Organizer for Panel on Shakespeare and the Romantics, Shakespeare Association of America, Boston, April, 2012. "Faith in Shakespeare: Hamlet and the Ghost." Harvard University Shakespeare Seminar, October, 2011. "Faith in Shakespeare: Theology and Poetics in The Winter's Tale," Huntington Library, Pasadena, California, February, 2011. "Faith in Shakespeare," Folger Shakespeare Library, Washington, D. C., November 2010. Respondent, "Rethinking Religion and Shakespeare," Shakespeare Association of America, Washington, DC, April, 2009 "Faith in Shakespeare," Early Modem Seminar, Columbia University, January, 2009 "The Tragedy of the Handkerchief': Objects Sacred and Profane in Shakespeare's Othello," Conference on Sacred and Devotional Objects, University of Colorado, Boulder, February, 2008 "Gascoigne's Poses and Supposes," Conference on George Gascoigne, Lincoln College, Oxford, September, 2007. "Sorceries and Enchantments in The Comedy of Errors," Paper for Session on Shakespeare and Religion, Renaissance Society of America, Miami, March, 2007. "Law Sports and the Night of Errors: Shakespeare at the Inns of Court," "The Intellectual and Cultural World of the Early Modem Inns of Court," The Courtauld Institute of Art, London, September, 2006 "Believing As You Like It: Faith in Shakespeare's Theater," Paper for Session on Religious Feeling on the Elizabethan Stage, Shakespeare Association of America, Philadelphia, April, 2006. "Faith and Felicity in Shakespeare," Chair and Speaker in Panel on "Theatrical Faith in the Renaissance," Renaissance Society of America, San Francisco, March 2006. "Sacred Kingship in Macbeth," "The Ethics of Power and Kingship in Shakespeare's Universe," The Shakespeare Colloquium of New Jersey, Madison, November, 2004. "Dramatic Speech Acts and Truth's True Contents in As You Like It," Seminar Paper, Shakespeare Institute, Stratford-upon-Avon, July, 2004 "Performance and the Liar's Paradox in Macbeth," "Shakespeare and Philosophy in a Multicultural World," Budapest, March, 2004. "Show and Gaze and Equivocation in Macbeth," "Spectacle and Public Performance in the Middle Ages and the Renaissance," Medieval and Renaissance Curriculum Conference, University of Tennessee, February, 2004. "The Rights of Memory and the Afterlife of Queen Elizabeth," "The Maiden Phoenix": Medieval and Renaissance Conference on Elizabeth I, , February, 2003. "'A Most Miraculous Work in this Good King.' Sacred Kingship in Macbeth," University College, Dublin, November, 2002 and University of Texas, Austin, April 2003 "Sacred Kingship at Court," New England Renaissance Conference, University of Massachusetts, Amherst, October, 2001. "A Wedding and Four Funerals: Conjunction and Commemoration in Hamlet," Plenary Address, Shakespeare Institute, Stratford-upon-Avon, August, 2000. Richard C. McCoy 6

HONORS Francis Bacon Foundation Fellow, Huntington Library, San Marino, California, 2011. Folger Short Term Fellowship, 2010. NEH Fellowship for Independent Research, 2006-7, Andrew Mellon Foundation Fell ow in the Humanities, Center for the Humanities, Seminar on Esthetics and Politics, The Graduate Center, CUNY, 2005-6. NEH Folger Shakespeare Institute Fellowship, 1996-97. Guggenheim Foundation Fellowship, 1992-93. ACLS Fellowship for Independent Research, 1987-88. CUNY Scholar Incentive Awards, 1988-89, 1996-97. CUNY Travel and Research Grants, 1980, 1981, 1983, 1986, 1990, 1992, 1994, 2000, 2003, 2004, 2006, 2008, 2010 for research conducted in England. NEH Fellowship for Independent Research, 1981-82. Mellon Post-Doctoral Fellowship, Columbia University, 1977-79.

PROFESSIONAL ACTIVITIES Chair, Council of Scholars, Theatre for a New Audience, 2013-2016 Scholar-Advisor, Shakespeare in His World and Ours, Folger Shakespeare Library and Newberry Library Exhibition, 2016 Post-Performance Discussion, Much Ado About Nothing, Theatre for a New Audience, New York, February, 2012 Post-Performance Discussion, Love's Labor 's Lost, Public Theater, New York, October, 2011. Discussion of Faith in Shakespeare with Michael Boyd, Artistic Director, Royal Shakespeare Company, Park Avenue Armory, New York, August, 2011. Participant and presenter, Textual Afterlives Symposium, Queen's University, Belfast, Northern Ireland, April, 2011. Post-Performance Discussion, Macbeth, Theatre for a New Audience, New York, April, 2011. NEH Fellowship Review Panel, Early Modem British Literature, Washington D.C., June, 2010. Post-Performance Discussion, The Duchess of Malji, Red Bull Theater, New York, March, 2010. Post-Performance Discussion, Measure for Measure, Theatre for a New Audience, New York, March, 2009 Post-Performance Discussion, Young-Jean Lee, Lear, Soho Rep, New York, January, 2010. Post-Performance Discussion, Hamlet, Theatre for a New Audience, New York, April, 2009 Post-Performance Discussion, The Tempest, Classic Stage Company, New York, September, 2008 Post-Performance Discussion, Antony and Cleopatra, Theatre for a New Audience, April, 2008. Lead Scholar, NEH Summer Teaching Shakespeare Workshop for High School Teachers, Brooklyn Academy of Music, 2007. Richard C. McCoy 7

Member, Council of Scholars, Theatre for a New Audience, , 2012- Present. Member, Board of Academic Advisers, The Shakespeare Society, New York City. 2007- Present. Post-Performance Discussion, All's Well that Ends Well, Theater for a New Audience, New York, March, 2006. Post-Performance Discussion, Coriolanus, Theater for a New Audience, New York, February, 2005. Member, Editorial Advisory Board, Early Modern Literature in History series, Palgrave Macmillan, 2003-13. Member, Executive and Program Planning Committee, Folger Institute, Folger Shakespeare Library, 1991-94 and 2002-2009. Workshop Leader for Training Artists in the NYC High Schools, Theater for a New Audience, New York, 2004 Post-Performance Discussion, Henry IV, parts 1 and 2, The Shakespeare Theatre, Washington, D. C., May, 2004. Scholar-in-Residence, "Adaptations: Teaching Shakespeare, Literature, and History Through Film," New York Council for the Humanities Teacher Institute, Bard College, 2003. Workshop Leader, Teaching Shakespeare, National Endowment for the Humanities Professional Development Program and Theater for a New Audience, New York, 2003-4. Judge, Gordan Prize, Renaissance Society of America, 2002. Executive Committee of Renaissance Division, Modem Language Association, 1991-95. Director, NEH Summer Institute, "Redefming the Sacred in Early Modem England," Folger Shakespeare Library, Summer, 1998. http://www.folger.edu/institute/sacred/index.html Distinguished Visiting Scholar, Centre for Reformation and Renaissance Studies, University of Toronto, Spring, 1998. Director, Folger Institute Seminar, "Altered States: Sacred Kingship in the Renaissance and Reformation," Folger Shakespeare Library, Spring, 1997. President, Spenser Society, 1994. Chair, Renaissance Division, Modem Language Association, 1994. Co-director, NEH Shakespeare Institute for Secondary School Teachers, Columbia University, Summer, 1991. Co-director, NEH Shakespeare Institute for Secondary School Teachers, Queens College, Summer, 1988 and 1989. Member, Society of Fellows in the Humanities, Columbia University, 1977-present.

DISSERTATIONS DIRECTED: Marlene Clark (Associate Professor, Center for Worker Education, CCNY), "Aging Queens and Shakespearean Drama (1997). Juxtapositions: Ideas for College Writers (Pearson, 2007). Maria Fahey (Chair, English, Friends Seminary, NYC), "Unchaste Signification: Transporting Figures in Shakespearean Drama" (2006). Metaphor and Shakespearean Drama (Palgrave Macmillan, 2011 ). Richard C. McCoy 8

Louise Geddes (Assistant Professor, Adelphi University), 'The Wounds Become Him": Sacrifice, Honor and the "Hazard of much blood" in Shakespeare's Roman Plays" (2009): "Jacobean Presentism and the Bite of the Right in Thatcher's England," Upstart Crow (2014 ); "Playing No Part But Pyramus": Restructuring the Clown in A Midmmmer Night's Dream," Medieval and Renaissance Drama in England, 27 (2014); '"Know that I, Ringo the Drummer Am': Shakespeare, YouTube and the Limits of Performance." Shakespeare Bulletin, 30 (2012), 299-318; "Sacred Blood and the Body's Rich Legacy in Julius Caesar," This Rough Magic (2010). Lara K walbrun, "Playing God's Chosen: Protestants, Jews, and Sixteenth-Century Drama" (2003 ). Emily Moore (English Teacher, ), "Embedded Forms and Progressive Wonders of The Winter's Tale" (2013). Poetry published in Paris Review, Ploughshares and Yale Review. Scott Pilarz (President and Professor of English, Marquette University), "Sacerdotal Self­ Fashioning: Priesthood inthe Poetry of Robert Southwell, S.J. and (1996). Discovering and (Re)covering the Seventeenth-Century religious Lyric (Duquesne University Press, 200 I); Robert Southwell and the Mission of Literature: Writing Reconciliation, 1561-1595 (Ashgate, 2004). Peggy Samuels (Professor, Drew University), "Samson Agonistes," and Renaissance Drama (1993). Deep Skin: Elizabeth Bishop and Visual Art, (Cornell, 2010). Richard Santana (Associate Professor, Rochester Institute of Technology), "Language and the Decline of Magic: Epistemological Shifts in English Literature from Medieval to Modernist (2003). Language and the Decline of Magic: Epistemological Shift is English Literature from Medieval to Modern (Mellen, 2006); with Gregory Erickson (Gallatin), Religion and Popular Culture: Rescripting the Sacred. (McFarland, 2008). Laura Wadenpfuhl (Assistant Professor, New Jersey City University), "The Narrative Discourse of Sir Philip Sidney and Lady Mary Wroth" (1994). CURRENT SUPERVISEES: Colin Macdonald, Solitude in English Renaissance Literature. Tim Windsor, Milton's Catabatic Centers: Underworld Descents and Ascents.

LANGUAGES Latin and Italian.