Introduction
NOTES Introduction Quotation of Shakespeare’s plays and poems in the chapters in this volume are taken from William Shakespeare, The Complete Works of Shakespeare, ed. David Bevington, 6th edn. (New York: Pearson/Longman, 2009). 1. Sabine Melchior-Bonnet, The Mirror: A History, trans. Katharine H. Jewett (1994; New York and London: Routledge, 2001), 113. 2. Herbert Grabes, The Mutable Glass: Mirror-imagery in Titles and Texts of the Middle Ages and Renaissance, trans. Gordon Collier (1973; rpt. Cambridge: Cambridge UP, 1982), 202–20; Grabes, “Glassy Essence: Shakespeare’s Mirrors and Their Contextualization,” Hebrew University Studies in Literature and Art 9 (1981): 175–95; Carol Banks “ ‘The purpose of play- ing . ’: Further Reflections on the Mirror Metaphor in Shakespeare’s Plays,” Signatures 2 (2000): 1–12; Philippa Kelly, “Surpassing Glass: Shakespeare’s Mirrors,” Early Modern Literary Studies 8.1 (May 2002): 32 paras + 66 notes; and Arthur Kinney, “Shakespeare’s Mirrors,” Shakespeare’s Webs: Networks of Meaning in Renaissance Drama (New York and London: Routledge, 2004), 1–34. 3. Grabes, The Mutable Glass, 204. Grabes classifies and analyzes mirror passages in Antony and Cleopatra, Love’s Labor’s Lost, King John, As You Like It, Sonnet 62, The Two Gentlemen of Verona, King Richard II, King Richard III, Hamlet, and Measure for Measure. 4. See, e.g., Marvin Rosenberg, The Masks of King Lear (Berkeley: U of California P, 1972), 107; and Allan R. Schickman, “The Fool’s Mirror in King Lear,” English Literary Renaissance 21 (1991): 75–86. 5. The most recent, and the most thorough, analysis of King Richard II’s use of a mirror and its multivalent meanings appears in Kinney, Shakespeare’s Web 1, 3, 8–11, 12, 16, 18, 24, 26, 32–34.
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