Editor

COPYRIGHTED EXCERPTS IN SC, VOLUME 59, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

Anglia, v. 104, 1986. Reproduced by permission.—The Centennial Review, v. 43, Fall, 1999. Reproduced by permission.—Colby Quarterly, v. 26, June, 1990. Reproduced by permission.—College Literature, v. 21, June, 1994. Reproduced by permission.—Comparative Drama, v. 27, Fall, 1993. Reproduced by permission.—Drama in the Renaissance, 1986. Reproduced by permission.—English Literary Renaissance, v. 20, Spring, 1990. Reproduced by permission.—English Studies in Canada, v. XI, March, 1985. Reproduced by permission.—English Studies, v. 65, February, 1984. © 1984, Swets & Zeitlinger. Reproduced by permission.—The Hudson Review, v. 51, Summer, 1998. Reproduced by permission.— Journal of Medieval and Renaissance Studies, v. 22, Spring, 1992. Copyright © 1992 by Duke University Press. Reproduced by permission.—Mosaic, v. 26, Winter, 1993. © 1993 by Mosaic. Reproduced by permission.—Orbis Litterarum, v. 43, 1988. © 1988 Munksgaard International Publishers, Ltd. Reproduced by permission.—Renaissance Drama,

COPYRIGHTED EXCERPTS IN SC, VOLUME 59, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Bevington, David. From an introduction to Troilus and Cressida. By William Shakespeare, edited by David Bevington. Thomas Nelson and Sons, 1998. Editorial material © 1998 David Bevington. Reproduced by permission.—Cousins, A.D. From Shakespeare’s Sonnets and Narrative Poems. Longman, 2000. © Pearson Education Limited 2000. Reproduced by permission.—Craik, T.W. From an introduction to The Merry Wives of Windsor. By William Shakespeare, edited by T.W. Craik. Clarendon Press, 1989. © Oxford University Press, 1989. All rights reserved. Reproduced by permission.—Dubrow, Heather. From “‘This Blemish’d Fort’: The Rape of the Hearth in Shakespeare’s Lucrece,”in Form and Reform in Renaissance England: Essays in Honor of Barbara Kiefer Lewalski. Edited by Amy Boesky and Mary Thomas Crane. University of Delaware Press, 2000. © 2000 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Edwards, Philip. From an introduction to Hamlet, Prince of Denmark. By William Shakespeare, edited by Philip Edwards. Cambridge University Press, 1985. © Cambridge University Press 1985. Reproduced by permission of publisher and author.—Flannery, Christopher. From Troilus and Cressida: Poetry or Philosophy?” in Shakespeare as Political Thinker. Edited by John Alvis and Thomas G. West. Carolina Academic Press, 1981. © 1981 John Alvis and Thomas G. West. All rights reserved. Reproduced by permission.—Lanham, Richard A. From The Motives of Eloquence: Literary Rhetoric in the Renaissance. Yale University Press, 1976. Reproduced by permission of the author.—Melchiori, Giorgio. From Shakespeare’s Garter Plays: “Edward III” to “Merry Wives of Windsor.” University of Delaware Press, 1994. © 1994 by Associated University Presses. All rights reserved. Reproduced by permission.—Muir, Kenneth. From Shakespeare the Professional and Related Studies. Heinemann, 1973. © Kenneth Muir 1973. Reproduced by permission.—Roe, John. From The Poems. Cambridge University Press, 1992. © Cambridge University Press 1992. Reproduced

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by permission of the publisher and author.—Showalter, Elaine. From “Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism,” in Shakespeare and the Question of Theory. Edited by Patricia Parker and Geoffrey Hartman. Methuen, 1985. Collection © 1985 Methuen & Co. Ltd. and Methuen, Inc. Chapter © 1985 Elaine Showalter. Reproduced by permission.—Stimpson, Catharine R. From “Shakespeare and the Soil of Rape,” in The Woman’s Part: Feminist Criticism of Shakespeare. Carolyn Ruth Swift Lentz, Gayle Greene, Carol Thomas Neely, eds. University of Illinois Press, 1980. © 1980 by the Board of Trustees of the University of Illinois. Reproduced by permission.— Thompson, Ann, and Neil Taylor. From William Shakespeare: “Hamlet.” Northcote House, 1996. Copyright © 1996 by Ann Thompson and Neil Taylor. Reproduced by permission.—White, R.S. From The Merry Wives of Windsor. Twayne Publishers, 1991. © 1991 by R.S. White. All rights reserved. Reproduced by permission.—Yogev, Michael. From “’War and Lechery Confound All’: Identity and Agency in Shakespeare’s Troilus and Cressida,” in Strands Afar Remote: Israeli Perspectives on Shakespeare. Edited by Avraham Oz. University of Delaware Press, 1998. © 1998 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 59, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Cassandra holding a small axe in her upraised right hand, from Act II, scene ii of William Shakespeare’s Troilus and Cressida, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—“Death of Lucretia,” engraving. © Historical Picture Archive/Corbis. Reproduced by permission.—Falstaff in disguise, holding a torch, Mrs. Ford, Mrs. Page, Sir Hugh Evans, wearing disguises, from Act V, scene v, of William Shakespeare’s The Merry Wives of Windsor, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—Ford, Mrs. and Mrs. Page, standing in front of Page’s house, from Act II, scene i of William Shakespeare’s The Merry Wives of Windsor, painting. Special Collections Library, University of Michigan. Reproduced by permission.—From a scene from the 1963 Stratford Festival production of William Shakespeare’s Troilus and Cressida, directed by Michael Langham, photograph. Courtesy of Stratford Festival Archives. Reproduced by permission.—From a scene from the 1978 production of William Shakespeare’s The Merry Wives of Windsor, directed by Peter Moss, photograph. Courtesy of Stratford Festival Archives. Reproduced by permission.—From a scene from the 1978 Stratford Festival production of William Shakespeare’s The Merry Wives of Windsor, directed by Peter Moss, photograph. Courtesy of Stratford Festival Archives. Reproduced by permission.—From a theatre production of William Shakespeare’s The Rape of Lucretia by Benjamin Britten, Directed by Herman Geiger-Torel, photograph. Stratford Festival, Stratford, Ontario, Canada, 1956, photograph by Herb Nott & Co. Ltd. Courtesy of Stratford Festival Archives.—Hawke, Ethan as Hamlet, Diane Venora as Gertrude, and Kyle MacLachlan as Claudius, in a scene from the 1999 Miramax film Hamlet, directed by Michael Almereyda, based on the play by William Shakespeare. The Kobal Collection. Reproduced by permission.—Olivier, Laurence as Hamlet, in a scene from the 1948 film version of William Shakespeare’s play Hamlet, sitting in a cemetery, holding a skull in his left hand, photograph. The Kobal Collection. Reproduced by permission.—Rape of Lucrece, 1594, title page.—Simmons, Jean as Ophelia, in a scene from the 1948 film Hamlet, directed by Laurence Olivier, based on the play by William Shakespeare. The Kobal Collection. Reproduced by permission.—Stiles, Julia as Ophelia and Ethan Hawke as Hamlet, in a scene from the 1999 Miramax film Hamlet, directed by Michael Almereyda, based on the play by William Shakespeare. The Kobal Collection. Reproduced by permission.—The Grecian Camp, Calchas’s tent; Diomedes and Cressida at right; at left, Troilus, Ulysses, and Thersites, from Act V, scene ii of William Shakespeare’s Troilus and Cressida, painting. Special Collections Library, University of Michigan. Reproduced by permission.—Troilus and Cressida, from Rowe, 1714 edition, engraving based on William Shakespeare’s play, photograph. Special Collections Library, University of Michigan. Reproduced by permission