Project Editor

COPYRIGHTED MATERIAL IN SC, VOLUME 80, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

English Literary Renaissance, v. 19, winter, 1989. Copyright © 1989 by English Literary Renaissance. Reproduced by permission.—Hudson Review, v. 54, winter, 2002. Copyright © 2002 Hudson Review. Reproduced by permission.— Medieval and Renaissance Drama in England, v. 14, 2001. © 2001 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Modern Language Studies, v. 5, spring, 1975 for “The Taming of the Shrew: Shakespeare’s Mirror of Marriage” by Coppélia Kahn. Copyright, Northeast Modern Language Association 1975. Reproduced by permission of the publisher and the author.—New York Times, August 9, 1999; August 26, 1999; October 24, 2000; December 6, 2002. Copyright © 1999, 2000, 2002 by The New York Times Company. All reproduced by permission.— Renaissance Drama, v. 21, 1990. Copyright © 1991 by Northwestern University Press. All rights reserved. Reproduced by permission.—Representations, v. 8, fall, 1984 for “Prospero’s Wife” by Stephen Orgel. Copyright © 1984 by The Regents of the University of California. Reproduced by permission of the publisher and the author.—Shakespeare Quarterly, v. 24, winter, 1973; v. 30, winter, 1979; v. 31, spring, 1980; v. 35, winter, 1984; v. 37, 1986; v. 46, winter, 1995; v. 50, spring, 1999; v. 52, summer, 2001; v. 53, 2002. Copyright © 1973, 1979, 1980, 1984, 1986, 1995, 1999, 2001, 2002 The Folger Shakespeare Library. All reproduced by permission of Johns Hopkins University Press.—Shakespeare Studies, v. 27, 1999;

v. 30, 2002. Copyright © Associated University Presses 1999, 2002. Both reproduced by permission.—Spectator, v. 284, April 29, 2000; v. 285, July 15, 2000. © 2000 by The Spectator. Both reproduced by permission of The Spectator.—Studies in English Literature 1500-1900, v. 42, spring, 2002. © 2002 The Johns Hopkins University Press. Reproduced by permission.—Theatre Journal, v. 48, 1996; v. 50, 1998. © 1996, 1998, University and College Theatre Association of the American Theatre Association. Both reproduced by permission of The Johns Hopkins University Press.—Times Educational Supplement, March 16, 2001. © The Times Supplements Limited 2001. Reproduced from The Times Educational Supplement by permission.—Times Literary Supplement, May 5, 2000. © The Times Supplements Limited 2000. Reproduced from The Times Literary Supplement by permission.—Upstart Crow, v. 5, 1984; v. 7, 1987; v. 9, 1989; v. 14, 1994; v. 18, 1998. Copyright © 1984, 1987, 1989, 1994, 1998 Upstart Crow. All reproduced by permission.—Variety, v. 375, August 16-22, 1999. Copyright © 1999 Variety. Reproduced by permission.—Wall Street Journal, January 22, 2002. © 2002 Dow Jones & Company, Inc. All rights reserved. Reproduced by permission of The Wall Street Journal.

COPYRIGHTED MATERIAL IN SC, VOLUME 80, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Adelman, Janet. From “Bed Tricks: On Marriage as the End of Comedy in All’s Well That Ends Well and Measure for Measure,”in Shakespeare’s Personality. Edited by Norman N. Holland, Sidney Homan, and Bernard J. Paris. University of California Press, 1989. © 1989 by The Regents of the University of California. Reproduced by permission.—Bevington, David. From The Oxford Shakespeare: Henry IV, Part I. Oxford University Press, 1987. © Oxford University Press 1987. All rights reserved. Reproduced by permission Oxford University Press.—Cook, Ann Jennalie. From “Wooing and Wedding: Shakespeare’s Dramatic Distortion of the Customs of His Time,” in Shakespeare’s Art from a Comparative Perspective. Edited by Wendell M. Aycock. Texas Tech Press, 1981. Copyright © Texas Tech University, 1981. Reproduced by permission.—Craig, Leon Harold. From Of Philosophers and Kings: Political Philosophy in Shakespeare’s Macbeth and King Lear. University of Toronto Press, 2001. © University of Toronto Press Incorporated 2001. Reproduced by permission.—Gossett, Suzanne. From “‘I’ll Look to Like’: Arranged Marriages in Shakespeare’s Plays,” in Sexuality and Politics in Renaissance Drama. Edited by Carole Levin and Karen Robertson. The Edwin Mellen Press, 1991. Copyright © 1991 Carole Levin and Karen Robertson. All rights reserved. Reproduced by permission.—Hopkins, Lisa. From The Shakespearean Marriage: Merry Wives and Heavy Husbands. Macmillan Press Ltd., 1998. © Lisa Hopkins 1998. All rights reserved. Reproduced by permission.—Jardine, Lisa. From “‘No offence i’ th’ world: Hamlet and Unlawful Marriage,” in Uses of History: Marxist, Postmodernism and the Renaissance. Edited by Francis Barker, Peter Hulme, and Margaret Iversen. Manchester University Press, 1991. Copyright © Manchester University Press 1991. Reproduced by permission.— Kalua, Irena. From The Language of Deception in Macbeth: A Study in Equivocation and Hidden Meaning. Nakladem Uniwersytetu Jagiellonkiego, 1990. Reproduced by permission.—Krieger, Elliot. From A Marxist Study of Shakespeare’s Comedies. Macmillan Press Ltd., 1979. Copyright © 1979 by Elliot Krieger. Reproduced by permission.—Long, Michael. From Twayne’s New Critical Introductions to Shakespeare: Macbeth. Twayne Publishers, 1989. © 1989 by Michael Long. All rights reserved. Reproduced by permission.—Mack, Maynard. From Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. University of Nebraska Press, 1993. © 1993 by Maynard Mack. All rights reserved. Reproduced by permission.—McFarland, Thomas. From Shakespeare’s Pastoral Comedy. University of North Carolina Press, 1972. Copyright © 1972 by the University of North Carolina Press. Reproduced by permission.—Neely, Carol Thomas. From “Broken Nuptials in Shakespeare’s Comedies,” in Shakespeare’s ‘Rough Magic’: Renaissance Essays in Honor of C. L. Barber. Edited by Peter Erickson and Coppélia Kahn. University of Delaware Press, 1985. © 1985 by Associated University Presses, Inc. Reproduced by permission.—Quinones, Ricardo J. From The Renaissance Discovery of Time. Harvard University Press, 1972. Copyright © 1972 by the President and Fellows of Harvard College. Reproduced by permission.— Turner, John. From Open Guides to Literature: Macbeth. Open University Press, 1992. Copyright © John Turner 1992. All rights reserved. Reproduced by permission.—Wills, Gary. From Witches and Jesuits: Shakespeare’s Macbeth. Oxford University Press, 1995. Copyright © 1995 by Literary Research, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc.—Wood, Nigel. From an Introduction to Henry IV, Parts One and Two. Edited by Nigel Wood. Open University Press, 1995. Copyright © The Editor and Contributors 1995. All rights reserved. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 80, WERE RECEIVED FROM THE FOLLOWING SOURCES:

As You Like It, Act II, scene ii. Wil Johnson as Amiens and John Mienery as Jaques in the 1998 Globe Theatre production, photograph by Donald Cooper. Photostage. Reproduced by permission.—As You Like It, Act III, scene ii. Anastasia Hille as Rosalind and Tonia Chauvet as Celia in the 1998 Globe Theatre production, photograph by Donald Cooper. Photostage. Reproduced by permission.—As You Like It, Act V, scene iii. Kate Phillips as Audrey, H. V. Esmond as Touchstone, and J. Neilson as Rosalind. Prints and Photographs Division. Library of Congress.—As You Like It, Act V, scene iv. Leader Hawkins as Hymen in the 1998 Globe Theatre production, photograph by Donald Cooper. Photostage. Reproduced by permission.—Henry IV, Part 1, Act I, scene iii. Hotspur and King Henry IV, painted by R. Smirke, engraved by C. Armstrong. Reproduced by permission of The Folger Shakespeare Library.—Henry IV, Part 1, Act II, scene ii. Prince Hal, Poins, and Falstaff. Reproduced by permission of The Folger Shakespeare Library.—Henry IV, Part 2, Act I, scene i. Prince Hal and Hotspur. Reproduced by permission of The Folger Shakespeare Library.—Henry IV, Part 2, Act IV, scene v. Prince Hal and King Henry IV, illustration by Sir Joseph Noel Paton. Rare Book and Special Collections Division, Library of Congress.— Measure for Measure, Act V, scene i. Robert Glenister as Duke Vincentio, Clare Holman as Isabella, Cathryn Bradshaw as Mariana, and Stephen Boxer as Angelo, photograph by Donald Cooper. Photostage. Reproduced by permission.—Much Ado about Nothing, Act IV, scene i. Henry Irving as Benedick and Ellen Terry as Beatrice, photograph. Prints and Photographs Division. Library of Congress.

Barbara M. Bibel

Librarian Oakland Public Library Oakland, California

Dr. Toby Burrows

Principal Librarian The Scholars’ Centre University of Western Australia Library Nedlands, Western Australia

Celia C. Daniel

Associate Librarian, Reference Howard University Washington, D.C.

David M. Durant

Reference Librarian Joyner Library East Carolina University Greenville, North Carolina

Nancy Guidry

Librarian Bakersfield Community College Bakersfield, Calafornia

Steven R. Harris

English Literature Librarian University of Tennessee Knoxville, Tennessee

Mary Jane Marden

Collection Development Librarian St. Petersburg Jr. College Pinellas Park, Florida

Heather Martin

Arts & Humanities Librarian University of Alabama, Sterne Library Birmingham, Alabama

Susan Mikula

Director Indiana Free Library Indiana, Pennsylvania

Thomas Nixon

Humanities Reference Librarian University of North Carolina, Davis Library Chapel Hill, North Carolina

Mark Schumacher

Jackson Library University of North Carolina

Gwen Scott-Miller

Assistant Director Sno-Isle Regional Library System Marysville, Washington

Donald Welsh

Head, Reference Services College of William and Mary, Swem Library Williamsburg, Virginia