Editor

COPYRIGHTED EXCERPTS IN SC, VOLUME 63, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

English Literary Renaissance, v. 5, Spring, 1975; v. 18, Winter, 1988; v. 24, Spring, 1994; v. 26, Spring, 1996; v. 28, Winter, 1998. Copyright © 1975, 1988, 1994, 1996, 1998 by English Literary Renaissance. All reproduced by permission.—English Studies, v. 80, April, 1999. Copyright © 1999, Swets & Zeitlinger. Reproduced by permission.— Huntington Library Quarterly, v. 26, February, 1963. Reproduced with the permission from the Henry E. Huntington Library.—Literature and Psychology, v. 1, 1974; v. 32, 1986. Copyright © Editor 1974, 1986. Both reproduced by permission of Literature and Psychology: a Psychoanalytic and Cultural Criticism.—Midwest Quarterly, v. 21, Summer, 1980. Copyright © 1980 by The Midwest Quarterly, Pittsburgh State University. Reproduced by permission.—Modern Language Quarterly, v. 32, March, 1971. Reproduced by permission.—Pacific Coast Philology, v. 9, April, 1974. Reproduced by permission.—Philological Quarterly, v. 66, Winter, 1987 for “The Making of Virgins and Mothers: Sexual Signs, Substitute Scenes, and Doubled Presences in All’s Well That Ends Well,” by Barbara Hodgdon. Copyright © 1987 by The University of Iowa. Reproduced by permission of the author.—Renaissance Papers, 1978. Reproduced by permission.— Renaissance Quarterly, v. 42, Spring, 1989. Reproduced by permission.—Shakespeare-Jahrbuch, v. 120, 1984. Reproduced by permission.—Shakespeare Quarterly, v. 24, Autumn, 1973; v. 25, Summer, 1974; v. 49, Summer, 1998. Copyright © The Folger Shakespeare Library, 1973, 1974, 1998. All reproduced by permission.—Shakespeare Studies, v. 15, 1982; v. 18, 1986. Copyright © 1982, 1986 by Associated University Presses, Inc. All rights reserved. Both reproduced by permission.—Shakespeare Survey, v. 40, 1988 for “The Speculative Eye: Problematic Self-Knowledge in Julius Caesar” by William O. Scott. Reproduced by permission of Cambridge University Press and the author.—Shakespeare Yearbook, v. 1, Spring, 1990. Reproduced by permission.—Studies in English Literature, 1500-1900, v. 28, Spring, 1988. Copyright © The Johns Hopkins University Press. Reproduced by permission.—Studies in the Literary Imagination, v. 5, April, 1972. Reproduced by permission.—Thalia, v. 1, Autumn, 1978. Copyright © 1978 by Jacqueline Tavernier-Courbin. Reproduced by permission.—Theatre Journal, v. 42, May, 1990. Copyright © 1990, University and College Theatre Association of the American Theatre Association. Reproduced by permission of The Johns Hopkins University Press.

COPYRIGHTED EXCERPTS IN SC, VOLUME 63, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Bathory, Dennis. From “‘With Himself at War’: Shakespeare’s Roman Hero and the Republican Tradition,” in Shakespeare’s Political Pageant: Essays in Literature and Politics. Edited by Joseph Alulis and Vickie Sullivan. Rowman & Littlefield, 1996. Copyright © 1996 by Rowman & Littlefield. All rights reserved. Reproduced by permission.—Blits, Jan

H. From “Politics and the Ethics of Intention: Brutus’ Glorious Failure,” in The End of the Ancient Republic: Essays on ‘Julius Caesar.’ Carolina Academic Press, 1982. Copyright © 1982 by Carolina Academic Press. All rights reserved. Reproduced by permission.—Bradbrook, Muriel C. From “Love and Courtesy in The Two Gentlemen of Verona,”in Shakespeare in His Context: the Constellated Globe, The Collected Papers of Muriel Bradbrook, Volume IV. Harvester Wheatsheaf, 1989. Copyright © 1989 by Harvester Wheatsheaf. All rights reserved. Reproduced by permission.—Bulman, James

C. From “Ironic Heroism in Julius Caesar: A Repudiation of the Past,” in Modern Critical Interpretations: William Shakespeare’s Julius Caesar. Edited by Harold Bloom. Chelsea House Publishers, 1988. Copyright © 1988 by Chelsea House Publishers. All rights reserved. Reproduced by permission.—Burckhardt, Sigurd. From “‘I Am But Shadow of Myself’: Ceremony and Design in 1 Henry VI,”in Shakespearean Meanings. Princeton University Press, 1968. Copyright © 1968 by Princeton University Press. All rights reserved. Reproduced by permission.—Carlisle, Carol L. and Patty S. Derrick. From “The Two Gentlemen of Verona on Stage: Protean Problems and Protean Solutions,” in Shakespeare’s Sweet Thunder: Essays on the Early Comedies. Edited by Michael J. Collins. University of Delaware Press, 1997. Copyright © 1997 by University of Delaware Press. All rights reserved. Reproduced by permission.—Cartelli, Thomas. From “Jack Cade in the Garden: Class Consciousness and Class Conflict in 2 Henry VI,”in Enclosure Acts: Sexuality, Property, and

ix

Culture in Early Modern England. Edited by Richard Burt and John Michael Archer. Cornell University Press, 1994. Copyright © 1994 by Cornell University Press. All rights reserved. Reproduced by permission.—Felheim, Marvin and Philip Traci. From “The Two Gentlemen of Verona,”in Realism in Shakespeare’s Romantic Comedies: “O Heavenly Mingle.” University Press of America, 1980. Copyright © 1980 by University Press of America. All rights reserved. Reproduced by permission.—Hall, Jonathan. From “Patriarchy Rescued in The Two Gentlemen of Verona,”in Anxious Pleasures: Shakespearean Comedy and the Nation-State. Fairleigh Dickinson University Press, 1995. Copyright © 1995 by Fairleigh Dickinson University Press. All rights reserved. Reproduced by permission.—Howe, James. From “The Cause of Suffering and the Birth of Compassion in Julius Caesar,”in A Buddhist’s Shakespeare: Affirming Self-Deconstructions. Associated University Presses, 1994. Copyright © 1994 by Associated University Presses. All rights reserved. Reproduced by permission.—Mack, Maynard. From “The Modernity of Julius Caesar,”in Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. University of Nebraska Press, 1993. Copyright © 1993 by University of Nebraska Press. All rights reserved. Reproduced by permission.—Maquerlot, Jean-Pierre. From “Julius Caesar and ‘Dramatic Coquetry’,” in Shakespeare and the Mannerist Tradition: A Reading of Five Problem Plays. Cambridge University Press, 1995. Copyright © 1995 by Cambridge University Press. All rights reserved. Reproduced by permission of the publisher and the author.—McCandless, David. From “All’s Well That Ends Well,”in Gender and Performance in Shakespeare’s Problem Comedies. Indiana University Press, 1997. Copyright © 1997 by Indiana University Press. All rights reserved. Reproduced by permission.—Nevo, Ruth. From “Motive and Meaning in All’s Well That Ends Well,”in “Fanned and Winnowed Opinions”: Shakespearean Essays Presented to Harold Jenkins. Edited by John W. Mahon and Thomas A. Pendleton. Methuen, 1987. Copyright © 1987 by Methuen. All rights reserved. Reproduced by permission of the author.—Pearlman,

E. From “The First, Second and Third Parts of King Henry the Sixth,”in William Shakespeare: The History Plays. Twayne Publishers, 1992. Copyright © 1992 by Twayne Publishers. All rights reserved. Reproduced by permission of The Gale Group.—Walch, Günter. From “The Historical Subject as Roman Actor and Agent of History: Interrogative Dramatic Structure in Julius Caesar,”in Shakespearean Illuminations: Essays in Honor of Marvin Rosenberg. Edited by Jay L. Halio and Hugh Richmond. Associated University Presses, 1998. Copyright © 1998 by Associated University Presses. All rights reserved. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 63, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Christie, Robert as Caesar, and members of the Festival Company in Act I, scene ii of William Shakespeare’s Julius Caesar, photograph. The Stratford Festival. Reproduced by permission.—Engraving of a scene from William Shakespeare’s 2 Henry VI, above engraving are statues, left to right, of Cardinal Beaufort, Queen Margaret, Henry VI, Humphrey, and Richard, photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Engraving of a scene from William Shakespeare’s 3 Henry VI, photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Engraving of Act II, scene v, The Tower of London, from William Shakespeare’s 1 Henry VI, photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Heldt, Sharon, Emma Richler, Lucy Peacock, Hazel Desbarats, Sally Cahill, and Kim Scarcella in Act III, scene viii of William Shakespeare’s All’s Well That Ends Well, photograph by Michael Cooper. The Stratford Festival. Reproduced by permission.—Holm, Sarah-Jane and Alison Reid, in a scene from a 1993 Royal Shakespeare Company production of The Two Gentlemen of Verona, photograph. Copyright © Robbie Jack/Corbis. Reproduced by permission.—Holman, Clare, and Barry Lynch in a scene from a 1992 Royal Shakespeare Company production of The Two Gentlemen of Verona, photograph by Robbie Jack. Copyright © Robbie Jack/Corbis. Reproduced by permission.—Hutt, William as Brutus, and members of the Festival Company in Act III, scene ii of William Shakespeare’s Julius Caesar, photograph. The Stratford Festival. Reproduced by permission.—Macready, William as Cassius and Edward Loomis Davenport as Brutus, in Act IV, scene iii of William Shakespeare’s Julius Caesar, engraving by Hollis from an original painting by Reid, the latter from a daguerreotype by John Mayall, published by John Tallis and Company, London, between 1860-1880. The Library of Congress.—Marston, Henry as Marc Antony in Act II, scene ii of William Shakespeare’s Julius Caesar, engraving by John Tallis & Company from a daguerreotype by Paine of Islington, London, 1870-1890. The Library of Congress.—Moore, Richard and Irish wolfhound Wolly in a 1991 Royal Shakespeare Company production of The Two Gentlemen of Verona, photograph. Copyright © Robbie Jack/Corbis. Reproduced by permission.—Mrs. Ternan as Countess Rousillon and Mr. Lewis Ball as a Clown in William Shakespeare’s All’s Well That Ends Well, engraving. Copyright © Historical Picture Archive/Corbis. Reproduced by permission.—Pettle, Jordan, Graham Abbey, David W. Smith, Steve Ross, Rory Feore, David Kirby, and Mark Harapiak in Act IV, scene i of William Shakespeare’s The Two Gentleman of Verona, photograph by Cylla von Tiedmann. The Stratford Festival. Reproduced by permission.—Reid, Fiona, Joseph Shaw, John Novak, Cheryl Swarts, Seana McKenna, and Lee J. Campbell in Act II, scene iii of William Shakespeare’s All’s Well That Ends Well, photograph by Robert C. Ragsdale. The Stratford Festival. Reproduced by permission.—Roux, Jean-Louis as Burgundy, Martha Henry as Joan la Pucelle, and members of the Festival Company as French soldiers in Act III, scene iii of William Shakespeare’s Henry VI, photograph by Peter Smith. The Stratford Festival. Reproduced by permission.—Wright, Susan, Allan Gray, Richard Curnock, Antoni Cimoino, Kim Scarcella, Michel La Fleche, Robert Smith, Keith Thomas, Emma Richler, Tony Martin, and David Brown in Act I, scene i of William Shakespeare’s All’s Well That Ends Well, photograph by Michael Cooper. The Stratford Festival. Reproduced by permission.

Dr. Toby Burrows Patricia Sarles, MA, MLS

Principal Librarian Canarsie High School Library The Scholars’ Centre Brooklyn, New York University of Western Australia Library

Mark Schumacher Steven R. Harris

English Literature Librarian Jackson Library University of Tennessee University of North Carolina at Greensboro

Mary Jane Marden Gwen Scott-Miller

Literature and General Reference Librarian Humanities Department Manager St. Petersburg Jr. College Seattle Public Library

Catherine Palmer Instructional Services Librarian and Ann Marie Wiescinski English and Comparative Literature Librarian Central High School Library University of California, Irvine Bay City, Michigan