Project Editor

COPYRIGHTED MATERIAL IN SC, VOLUME 75, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Journal of English and Germanic Philology, v. 96, October 1997. © 1997 by the Board of Trustees of the University of Illinois. Reproduced by permission.—The Journal of Theatre and Drama, v. 3, 1997. Reproduced by permission.— Literature and Psychology, v. 33, 1987. © Editor 1987. Reproduced by permission of Literature and Psychology: A Psychoanalytic and Cultural Criticism.—Modern Language Quarterly, v. 48, December 1987. © 1987 University of Washington. Reproduced by permission of Duke University Press.—New Republic, v. 209, October 4, 1993. © 1993 The New Republic, Inc. Reproduced by permission of The New Republic.—New York Times, September 11, 2000. Copyright © 2000 by The New York Times Company. Reproduced by permission.—The New Yorker, v. 76, September 18, 2000, for “The Death of Kings,” by John Lahr. Reproduced by permission of the author.—Representations, summer 1984 for “Shakespeare’s ‘Perjur’d Eye,’” by Joel Fineman. Copyright © 1984 by The Regents of the University of California. Reproduced by permission of the publisher and the author.—Shakespeare Quarterly, v. 15, winter 1964. © The Johns Hopkins University Press. Renewed 1992; v. 18, autumn 1967; v. 20, autumn 1969; v. 21, autumn 1970; v. 24, winter 1973; v. 33, autumn 1982. © The Johns Hopkins University Press. All reproduced by permission.—Shakespeare Studies, v. 24, 1996 for “Other Voices: The Sweet, Dangerous Air(s) of Shakespeare’s Tempest,” by Jacquelyn Fox-Good. © 1996 by Associated University Presses, Inc. All rights reserved. Reproduced by permission of the author; v. 18, 1986. Reproduced by permission.—Shakespeare Survey, v. 39, 1987 for “Then Murder’s Out of Tune: The Music and Structure of Othello,”by Rosalind King; v. 48, 1996 for “‘My Music for Nothing’: Musical Negotiations in The Tempest,” by Pierre Iselin; v. 51, 1998 for “Shakespeare Performances in England, 1977,” by Robert Smallwood. Reprinted with permission of Cambridge University Press and the authors. Reproduced by permission.—South Atlantic Bulletin, v. 37, November 1972. Reproduced by permission.—Studies in English Literature 1500-1900, v. 42, 2002. © The Johns Hopkins University Press. Reproduced by permission.—Theatre Journal, v. 53, May 2001. © The Johns Hopkins University Press. Reproduced by permission.— Times Literary Supplement, July 10, 1992; September 27, 1996; June 30, 2000. © The Times Supplements Limited 1992, 1996, 2000. All reproduced from The Times Literary Supplement by permission.—Upstart Crow, v. 8, 1988; v. 10, 1990. Both reproduced by permission.—Variety, v. 352, August 23, 1993. Reproduced by permission.

COPYRIGHTED MATERIAL IN SC, VOLUME 75, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Auden, W. H. From The Dyer’s Hand and Other Essays. Random House, 1962. Copyright © 1948, 1950, 1952, 1953, 1954, 1956, 1957, 1958, 1960, 1962 by W. H. Auden, renewed 1990 by Edward Mendelsohn (Executor of W. H. Auden). All rights reserved. Reproduced by permission of Random House. In the U.K. by Faber & Faber Limited.—Berley, Marc. From After the Heavenly Tune: English Poetry and the Aspiration to Song. Duquesne University Press, 2000. Copyright © 2000 by Duquesne University Press. All rights reserved. Reproduced by permission.—Coletti, Theresa. From Shakespeare’s Late Plays. Edited by Richard C. Tobias and Paul G. Zolbrod. Ohio University Press, 1974. Copyright © 1974 by Richard C. Tobias and Paul G. Zolbrod. All rights reserved. Reproduced by permission.—Davey, James Joseph. From The Function of the Dark Lady in Shakespeare’s Sonnets. Università Degli Studi Di Trieste, 1986. Copyright © 1986 by Università Degli Studi Di Trieste. All rights reserved. Reproduced by permission.—Dunn, Leslie C. From Embodied Voices: Representing Female Vocality in Western Culture. Edited by Leslie C. Dunn and Nancy A. Jones. Cambridge University Press, 1994. Copyright © 1994 by Cambridge University Press. All rights reserved. Reproduced by permission.—Dunn, Leslie C. From Place and Displacement in the Renaissance. Edited by Alvin Vos. Medieval and Renaissance Texts and Studies, 1995. Copyright © 1995 by the Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton. All rights reserved. Reproduced by permission.—Greenfield, Thelma N. From Pacific Coast Studies in Shakespeare. Edited by Waldo F. McNeir and Thelma N. Greenfield. University of Oregon Press, 1966. Copyright © 1966 by The University of Oregon. All rights reserved. Reproduced by permission.—Hart, Jonathan. From In the Company of Shakespeare: Essays on English Renaissance Literature in Honor of G. Blakemore Evans. Edited by Thomas Mosian and Douglas Bruster. Farleigh Dickinson University Press, 2002. Copyright © 2002 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Ingram, R. W. From Shakespeare 1971: Proceedings of the World Shakespeare Congress, Vancouver, August 1971. Edited by Clifford Leech and J. M. R. Margeson. University of Toronto Press, 1972. Copyright © 1972 by University of Toronto Press. All rights reserved. Reproduced by permission.—Kernan, Alvin. From Shakespeare, the King’s Playwright: Theater in the Stuart Court 1603-1613. Yale University Press, 1995. Copyright © 1995 by Yale University Press. All rights reserved. Reproduced by permission.—Lindley, David. From The Court Masque. Edited by David Lindley. Manchester University Press, 1984. Copyright © 1984 by David Lindley. All rights reserved. Reproduced by permission.—Meszaros, Patricia K. From Shakespeare and the Arts: A Collection of Essays from the Ohio Shakespeare Conference, 1981 Wright State University, Dayton, Ohio. Edited by Cecile Williamson Cary and Henry S. Limouze. University Press of America, 1982. Copyright © 1982 by University Press of America, Inc. All rights reserved. Reproduced by permission.—Parker, Patricia. From Creative Imitation: New Essays on Renaissance Literature in Honor of Thomas M. Greene. Edited by David Quint, Margaret W. Ferguson, G. W. Pigman, III, and Wayne

A. Rebhorn. Medieval and Renaissance Texts and Studies, 1992. Copyright © 1992 by Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton. All rights reserved. Reproduced by permission.— Schmidgall, Gary. From Shakespeare and Opera. Oxford University Press, 1990. Copyright © 1990 by Oxford University Press, Inc. All rights reserved. Used by permission of Oxford University Press, Inc.—Thomson, Peter. From Essays on Shakespeare in Honour of A. A. Ansari. Edited by T. R. Sharma. Shalabh Book House, 1986. Copyright © 1986 by T. R. Sharma. All rights reserved. Reproduced by permission.—Waith, Eugene M. From William Shakespeare’s Coriolanus. Edited by Harold Bloom. Chelsea House Publishers, 1988. Copyright © 1988 by Chelsea House Publisher, a division of Chelsea House Educational Communications, Inc. All rights reserved. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 75, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Act I, scene ii of The Tempest, engraving from the frontispiece illustration by Arthur Rackham for The Tempest (London, 1926). Rare Book and Special Collections, Library of Congress.—Betram and the Countess of Rousillon in Act I, scene i of All’s Well That Ends Well, engraving by Gebbie and Co. Courtesy of The Library of Congress. Reproduced by permission.—Branagh, Kenneth in a scene from the 1992 production of Coriolanus at the Chichester Theater, photograph by Robbie Jack. Corbis. Reproduced by permission.—Desdemona and Emilia in Act IV, scene iii of Othello, illustration.— Frontispiece of Book of Shakespeare Sonnets by G. Greatbach, photograph by Philip de Bay. © Historical Picture Archive/ Corbis. Reproduced by permission.—Helena and the Countess of Rousillon in Act I, scene iii of All’s Well That Ends Well, engraving by Francis Wheatley.—Helena, Bertram, and the King in Act II, scene iii of All’s Well That Ends Well. By permission of The Folger Shakespeare Library.—Helena, Bertram, and the King in Act II, scene iii of All’s Well That Ends Well, engraving from a painting by Francis Wheatley. Special Collections Library, University of Michigan. Reproduced by permission.—Helena, Betram, Lafew, and the Countess of Rousillon in Act I, scene i of All’s Well That Ends Well, illustration by Dudley Hardy, 1907. Courtesy of The Library of Congress. Reproduced by permission.—Lorenzo and Jessica in Act V, scene i of The Merchant of Venice, illustration.—Ophelia in Act IV, scene v of Hamlet, engraving after a drawing by Sir Joseph Noel Paton for The National Shakespeare, vol. 3, Tragedies (London, 1888). Rare Book and Special Collections, Library of Congress.—Stephens, Toby, Monica Dolan, and Caroline Blakiston in a scene from the 1995 Royal Shakespeare production of Coriolanus, photograph by Robbie Jack. Corbis. Reproduced by permission.—Valeria, Volumnia, Virgilia, Young Martius, and Coriolanus in Act V, scene iii of Coriolanus, painted by Max Adamo. From Shakespeare Scenes and Characters: A Series of Illustrations (London: Macmillian, 1876). Special Collections Library, University of Michigan. Reproduced by permission.—Virgilia, Coriolanus, Aufidius, Volumnia, Young Martius, Valeria, and attendants in Act V, scene iii of Coriolanus, engraving. By permission of The Folger Shakespeare Library.—Volumnia, Young Martius, Aufidius, Coriolanus, and Virgilia in Act V, scene iii of Coriolanus, photograph by H. A. Bone. Special Collections Library, University of Michigan. Reproduced by permission.

Dr. Toby Burrows Mary Jane Marden

Principal Librarian Literature and General Reference Librarian

The Scholars’ Centre St. Petersburg Jr. College University of Western Australia Library

Mark Schumacher

David M. Durant

Jackson Library Joyner Library

East Carolina University University of North Carolina at Greensboro

Steven R. Harris Gwen Scott-Miller

English Literature Librarian Assistant Director of Materials and Programming University of Tennessee Sno-Isle Regional Library System