Antony and Cleopatra (Vol. 81) - Copyright Page

ISSN 0883-9123

Volume 81

Criticism of William Shakespeare’s Plays and Poetry, from the First Published Appraisals to Current Evaluations

Michael LaBlanc

Project Editor

Project Editor

Michelle Lee

Editorial

Jessica Bomarito, Jenny Cromie, Kathy D. Darrow, Julie Keppen, Michael L. LaBlanc, Thomas J. Schoenberg,

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Shakespearean Criticism, Vol. 81

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Acknowledgments

The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of SC. Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIAL IN SC, VOLUME 81, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Early Modern Literary Studies, v. 8, September, 2002. © 2002 Lisa Hopkins. Reproduced by permission.—ELH, v. 37, March, 1970; v. 43, Summer, 1976; v. 44, Fall, 1977. Copyright © 1970, 1976 by The Johns Hopkins University Press. Reproduced by permission.—Essays in Literature, v. 14, Spring, 1987. Copyright 1987 Western Illinois University. Reproduced by permission.—Essays in Theatre, v. 6, May, 1988. Copyright © 1988 Essays in Theatre. Reproduced by permission.—Exemplaria, v. 11, 1999. © 1999 Pegasus Press, Asheville, North Carolina. Reproduced by permission.— Hudson Review, v. 53, Autumn, 2000. Copyright © 2000 Hudson Review. Reproduced by permission.—JEGP: Journal of English and Germanic Philology, v. 61, 1962; v. 67, 1968; v. 75, 1976. Copyright © 1962, 1968, 1976 JEGP: Journal of English and Germanic Philology. Reproduced by permission.—Journal of Literature and Theology, v. 3, 1989. Copyright

© 1989 Journal of Literature and Theology. Reproduced by permission.—Literature-Film Quarterly, v. 14, 1986. Copyright © 1986 Literature-Film Quarterly. Reproduced by permission.—Michigan Academician, v. 6, Fall, 1973. Copyright © 1973 The Michigan Academy of Science, Arts, and Letters. Reproduced by permission of the publisher.—New Statesman, June 9, 2003. Copyright © 2003 Statesman & Nation Publishing Company Limited. Reproduced by permission.—New York Times, September 11, 2000; September 24, 2000; July 27, 2001. Copyright © 2000, 2001 by The New York Times Company. Reproduced by permission.—Philological Quarterly, v. 79, Fall, 2000. Copyright © 2000 by The Philological Quarterly. Reproduced by permission of the publisher.—Renascence, v. 32, Winter, 1980; v. 54, Fall, 2001. Copyright, 1980, 2001 Marquette University Press. Reproduced by permission.—Schuylkill: A Creative and Critical Review from Temple University, v. 4, Spring, 2001. Copyright © 2001 Schuylkill: A Creative and Critical Review from Temple University. Reproduced by permission.—Shakespeare Quarterly, v. 14, Autumn, 1963; v. 15, Summer, 1964; v. 33, Autumn, 1982; v. 48, Autumn, 1997; v. 49, Autumn, 1998. Copyright © 1963, 1964, 1982, 1997, 1998 by the Folger Shakespeare Library. Reproduced by permission.—Shakespeare Studies, v. 21, 1993. Copyright © 1993 Shakespeare Studies. Reproduced by permission.—South Atlantic Review, v. 51, January, 1986. Copyright © 1986 by the South Atlantic Modern Language Association. Reproduced by permission.—Spectator, v. 283, August 7, 1999. © 1999 by The Spectator. Reproduced by permission of The Spectator.—Studies in English Literature 1500-1900, v. 33, Spring, 1993. © William Marsh Rice University 1993. Reproduced by permission.—Texas Studies in Literature and Language, v. 18, Winter, 1977. Copyright © 1977 by the University of Texas Press. Reproduced by permission.—Theatre Journal, v. 52, 2000. © 2000 University and College Theatre Association of the American Theatre Association. Reproduced by permission of The Johns Hopkins University Press.—Times Educational Supplement, 17 May, 2002. © The Times Supplements Limited 2002. Reproduced from The Times Educational Supplement by permission.—Times Literary Supplement, 3 May, 2002. © The Times Supplements Limited 2002. Reproduced from The Times Literary Supplement by permission.—Upstart Crow, v. 8, 1988; v. 12, 1992. Copyright 1988, 1992 Drury College. All rights reserved. Reproduced by permission.—Variety, v. 389, February, 2003. Reproduced by permission.—The Village Voice, v. 48, 5-11 February 2003 for “Assassins and Romance” by Charles McNulty. Copyright © 2003 V. V. Publishing Corporation. Reproduced by permission of author.

COPYRIGHTED MATERIAL IN SC, VOLUME 81, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Abrams, Richard H. From “Leontes’s Enemy: Madness in The Winter’s Tale,”in Aspects of Fantasy: Selected Essays from the Second International Conference on the Fantastic in Literature and Film. Edited by William Coyle. Greenwood Press, 1986. Copyright © 1986 by The Thomas Burnett Swann Fund. All rights reserved. Reproduced by permission of Greenwood Publishing Group, Inc., Westport, CT.—Andrews, John F. From “Falling in Love: The Tragedy of Romeo and Juliet,”in Classical, Renaissance, and Postmodernist Acts of the Imagination: Essays Commemorating O. B. Hardison, Jr. Edited by Arthur F. Kinney. Associated University Presses, 1996. Copyright © 1996 Associated University Presses. All rights reserved. Reproduced by permission.—Bushman, Mary Ann. From “Representing Cleopatra,” in In Another Country: Feminist Perspectives on Renaissance Drama. Edited by Dorothea Kehler and Susan Baker. The Scarecrow Press, Inc., 1991. Copyright © 1991 by Dorothea Kehler and Susan Baker. All rights reserved. Reproduced by permission.—Cowan, Louise. From “God Will Save the King: Shakespeare’s Richard II,”in Shakespeare as Political Thinker. Edited by John Alvis and Thomas G. West. Carolina Academic Press, 1981. All rights reserved. Reproduced by permission.—Fawkner, H. W. From Shakespeare’s Hyperontology: Antony and Cleopatra. Associated University Presses, 1990.

  • © 1990 by Associated University Presses, Inc. Reproduced by permission.—Forker, Charles R. From an introduction to The Arden Shakespeare: King Richard II. Edited by Charles R. Forker. Thomson Learning, 2002. All rights reserved. Reproduced by permission.—Joughin, John J. From Shakespeare and Modernity: Early Modern to Millennium, edited by Hugh Grady. Copyright © 2000 by Hugh Grady. All rights reserved. Reproduced by permission of the publisher.—Kiefer, Frederick. From Fortune and Elizabethan Tragedy. The Huntington Library, 1983. Copyright 1983 by The Huntington Library. Reproduced with the permission of the Henry E. Huntington Library.—Kinney, Clare. From “The Queen’s Two Bodies and the Divided Emperor: Some Problems of Identity in Antony and Cleopatra”in The Renaissance Englishwoman in Print: Counterbalancing the Canon. Edited by Anne M. Haselkorn and Betty S. Travitsky. University of Massachusetts Press, 1990. Copyright © 1990 by The University of Massachusetts Press. All rights reserved. Reproduced by permission.—Lindley, Arthur. From Hyperion and the Hobbyhorse: Studies in Carnivalesque Subversion. Associated University Presses, 1996. © 1996 Associated University Presses, Inc. All rights reserved. Reproduced by permission.— Mack, Maynard, Jr. From “This Royal Throne Unkinged,” in Killing the King: Three Studies in Shakespeare’s Tragic Structure. Yale University, 1973. © 1973 by Yale University Press. All rights reserved. Reprinted by permission of Yale University Press.—Platt, Peter G. From Reason Diminished: Shakespeare and the Marvelous. University of Nebraska Press, 1997. Copyright © 1997 by the University of Nebraska Press. Reproduced by permission of the publisher.—Sanders, Wilbur. From Harvester New Critical Introductions to Shakespeare: The Winter’s Tale. Harvester Press, 1987. Copyright
  • © 1987 by Wilbur Sanders. All rights reserved. Reproduced by permission.—Sjöberg, Alf. From “The Secondary Role: The Vision of Master and Servant in Antony and Cleopatra,”in Shakespeare and Scandinavia: A Collection of Nordic Studies. Edited by Gunnar Sorelius. Associated University Presses, 2002. © 2002 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Viswanathan, S. From Shakespeare in India. Edited by S. Nagarajan and S. Viswanathan. Oxford University Press, 1987. Copyright © 1987 by Oxford University Press. Reproduced by permission of Oxford University Press India, New Delhi.—Wilders, John. From an introduction to The Arden Shakespeare: Antony and Cleopatra. Edited by John Wilders, Routledge, 1995. Copyright © 1995 by Routledge. All rights reserved. Reproduced by permission of the publisher and the author.
    • PHOTOGRAPHS APPEARING IN SC, VOLUME 81, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    Antony and Cleopatra, engraving. Special Collections Library, University of Michigan. Reproduced by permission.— Antony, Cleopatra, and attendants in Act III, scene xi of Antony and Cleopatra, engraving from painting by Henry Tresham. Shakespeare Gallery. Special Collections Library, University of Michigan. Reproduced by permission.—Aumerle, Richard II, the Bishop of Carlisle, Salisbury, and soldiers in Act III, scene ii of Richard II, engraving by William Hamilton. From Boydell, John, Shakespeare—Plates from Boydell (London: J. & J. Boydell, 1791-1803). Special Collections Library, University of Michigan. Reproduced by permission.—Camillo, Polixenes, Old Shepherd, Perdita, Florizel, Mopsa, Dorcas, and others in Act IV, scene iii of The Winter’s Tale, engraving by William Hamilton. Boydell, John, Shakespeare—Plates from Boydell (London: J. & J. Boydell, 1791-1803). Special Collections Library, University of Michigan. Reproduced by permission.—Cleopatra and attendants in Act V, scene ii of Antony and Cleopatra, illustration by Sir Joseph Noel Paton, from The National Shakespeare, vol. 3, Tragedies (London, 1888). Rare Book and Special Collections Division, Library of Congress.—Dance of the Shepherds and Shepherdesses in Act IV, scene iv of The Winter’s Tale, engraving by A. Warren. From Scenes from The Winter’s Tale, (London: Day & Son, 1866). Special Collections Library, University of Michigan. Reproduced by permission.—“Death of Cleopatra,” Act V, scene ii of Antony and Cleopatra, photogravure by Gebbie & Co., General Collections, Library of Congress.—The Duke and Duchess of York and Aumerle in Act V, scene ii of Richard II, painted by William Hamilton. From Boydell, John, Shakespeare—Plates from Boydell (London: J. & J. Boydell, 1791-1803). Special Collections Library, University of Michigan. Reproduced by permission.— Exton, Henry IV, the Bishop of Carlisle, and the body of Richard II in Act V, scene vi of Richard II, painted by Friedrich Pecht and engraved by A. Krausse. From Shakespeare Scenes and Characters: a series of Illustrations (London: Macmillan). Shakespeare Gallery. Special Collections Library, University of Michigan. Reproduced by permission.—Florizel and Perdita in Act IV, scene iv of The Winter’s Tale, engraving by J. D. Watson. From Brereton, Austin, Shakespearean Scenes and Characters ... from Betterton to Irving (London and New York: Cassell, 1886). Special Collections Library, University of Michigan. Reproduced by permission.—Illustration depicting an allegory of Fortune. The blindfolded woman represents Fortune, who holds the horn of abundance and pushes forward the hands of time, January 8, 1900. © Leonard de Selva/Corbis. Reproduced by permission.—Mowbray and Bolingbroke in Act I, scene iii of Richard II. Frontispiece to the Hanmer edition by Francis Hayman (1744). Reproduced by permission of The Folger Shakespeare Library.—Richard II and Bolingbroke in Act IV, scene i of Richard II, painted by H. C. Selous and engraved by G. Greatbach. From Brereton, Austin, Shakespearean Scenes and Characters ... from Betterton to Irving, (London and New York: Cassell, 1886). Special Collections Library, University of Michigan. Reproduced by permission.—Richard II, Exton, the Keeper, and servants at Pomfret Castle in Act V, scene v of Richard II. Frontispiece to the Rowe edition (1709). Reproduced by permission of The Folger Shakespeare Library.—Shepherd and Baby Perdita in Act III, scene iii of The Winter’s Tale, engraving.—The three Weird Sisters from Macbeth, by Henry Fuseli (1741-1825), circa 1780. Hulton/Archive by Getty Images. Reproduced by permission.—Time as Chorus from Act IV, scene i of The Winter’s Tale, engraving by A. Warren. From

    Scenes from The Winter’s Tale (London: Day & Son, 1866). Special Collections Library, University of Michigan. Reproduced by permission.—Title page of the First Quarto of Richard II (1597).—The Wheel of Fortune, 16th century.

    © Michael Nicholson/Corbis. Reproduced by permission.—York’s description of the arrival of Bolingbroke and Richard II in London in Act V, scene ii of Richard II, painted by James Northcote and engraved by Robert Thew. The Shakespeare Gallery. Special Collections Library, University of Michigan. Reproduced by permission.

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