Project Editor

Scope of the Series

Volumes 1 through 10 of the series present a unique historical overview of the critical response to each Shakespearean work, representing a broad range of interpretations.

Volumes 11 through 26 recount the performance history of Shakespeare’s plays on the stage and screen through eyewitness reviews and retrospective evaluations of individual productions, comparisons of major interpretations, and discussions of staging issues.

Volumes 27 through 56 in the series focus on criticism published after 1960, with a view to providing the reader with the most significant modern critical approaches. Each volume is ordered around a theme that is central to the study of Shakespeare, such as politics, religion, or sexuality. The topic entry that introduces each volume is comprised of general essays that discuss this theme with reference to all of Shakespeare’s works. Following the topic entry are several entries devoted to individual works. Beginning with volume 57 in the series, SC provides a works-based approach; each of the four entries contained in a regular volume focuses on a specific Shakespearean play or poem. The entries will include the most recent criticism available on the works, as well as earlier criticism not previously included in SC. Select volumes contain topic entries comprised of essays that analyze various topics, or themes, found in Shakespeare’s works. Past topic entries have covered such subjects as Honor, Jealousy, War and Warfare, and Elizabethan Politics.

Until volume 48, published in October 1999, SC compiled an annual volume of the most noteworthy essays published on Shakespeare during the previous year. The essays, reprinted in their entirety, were recommended to Thomson Gale by an international panel of distinguished scholars.

Organization of the Book

An SC entry consists of the following elements:

COPYRIGHTED MATERIAL IN SC, VOLUME 88, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Back Stage, v. 41, February 11, 2000. Copyright © 2000 BPI Communications, Inc. Reproduced by permission.—CEA Critic, v. 35, March, 1973 for “Some Thoughts about King John” by Charles Stubblefield. Copyright © 1973 by the College English Association, Inc. Reproduced by permission of the publisher and the author.—CLA Journal, v. 13, June, 1970. Copyright © 1970 by The College Language Association. Used by permission of The College Language Association.— College Literature, v. 4, fall, 1997. Copyright © 1977 by West Chester State College. Reproduced by permission.—Detroit Free Press, August 24, 2003. Copyright © 2003 by Detroit Free Press. Reprinted by permission of the publisher.—ELH,v. 33, December, 1966. Copyright © 1966 The Johns Hopkins University Press. Reproduced by permission.—Financial Times, March 30, 2001; December 20, 2001; August 8, 2002. Copyright © 2001, 2002 Financial Times Information Ltd. All reproduced by permission.—Modern Language Quarterly, v. 54, December, 1993. Copyright © 1993 by The University of Washington. All rights reserved. Reproduced by permission of the publisher.—Mosaic, v. 36, March, 2003. Copyright © 2003 by Mosaic. Acknowledgment of previous publication is herewith made.—New Statesman, v. 132, March 10, 2003. Copyright © 2003 New Statesman, Ltd. Reproduced by permission.—New York Times, January 31, 2000. Copyright © 2001 The New York Times Company. Reproduced by permission.—Observer (London), April 1, 2001 for a review of King John by Susannah Clapp; March 2, 2003 for “So, Farewell, Clever Trevor: Trevor Nunn Bows out of the National Theatre with a Martial Production of Love’s Labour’s Lost” by Susannah Clapp. Copyright © 2001 Guardian Newspapers Limited. Both reproduced by permission of the author.—Renaissance Quarterly, v. 54, winter, 2001. Copyright © 2001 Renaissance Quarterly. Reproduced by permission.—Shakespeare Bulletin, v. 21, spring/summer, 2003;

COPYRIGHTED MATERIAL IN SC, VOLUME 88, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Baker, David Weil. From “‘Surpris’d with all’: Rereading Character in Much Ado about Nothing,”in Second Thoughts: A Focus on Rereading. Edited by David Galef. Wayne State University Press, 1998. Copyright © 1998 by Wayne State University Press. All rights reserved. Reproduced by permission of the publisher and author.—Barish, Jonas. From “War, Civil War, and Bruderkrieg in Shakespeare,” in Literature and Nationalism. Edited by Vincent Newey and Ann Thompson.

Liverpool University Press, 1991. Copyright © 1991 by Liverpool University Press. All rights reserved. Reproduced by permission.—Beaurline, L. A. From the Introduction to The New Cambridge Shakespeare: King John. Edited by L. A. Beaurline. Cambridge University Press, 1990. Copyright © 1990 Cambridge University Press. Reproduced by permission of Cambridge University Press.—Caldwell, Ellen C. From “The Hundred Years’ War and National Identity,” in Inscribing the Hundred Years’ War in French and English Cultures. Edited by Denise N. Baker. State University Press of New York Press, 2000. Copyright © 2000 State University Press of New York. All rights reserved. Reproduced by permission of the State University of New York Press.—Carney, Jo Eldridge. From “The Ambiguities of Love and War in The Two Noble Kinsmen,”in Sexuality and Politics in Renaissance Drama. Edited by Carole Levin and Karen Robertson. Edwin Mellen Press, 1991. Copyright © 1991 by Carole Levin and Karen Robertson. All rights reserved. Reproduced by permission.— Cousin, Geraldine. From the Introduction to Shakespeare in Performance: King John. Manchester University Press, 1994. Copyright © Geraldine Cousin 1994. Reproduced by permission of the author.—Drakakis, John. From “Trust and Transgression: The Discursive Practices of Much Ado about Nothing,”in Post-structuralist Readings of English Poetry. Edited by Richard Machin and Christopher Norris. Cambridge University Press, 1987. Copyright © Cambridge University Press 1987. Reprinted with the permission of Cambridge University Press.—Gilbert, Miriam. From “‘As it was presented before her Highness’: Love’s Labour’s Lost on the Elizabethan Stage,” in Shakespeare in Performance: Love’s Labour’s Lost. Edited by J. R. Mulryne, J. C. Bulman, and Margaret Shewring. Manchester University Press, 1993. Copyright © 1993 by Miriam Gilbert. Reproduced by permission of the publisher and the author.—Hamel, Guy. From “King John and The Troublesome Raigne: A Reexamination,” in King John: New Perspectives. Edited by Deborah T. Curren-Aquino. Associated University Presses, 1989. Copyright © 1989 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Helms, Lorraine. From “Stills Wars and Lechery: Shakespeare and the Last Trojan Woman,” in Arms and the Woman: War, Gender, and Literary Representation. Edited by Helen M. Cooper, Adrienne Auslander Munich, and Susan Merrill Squier. University of North Carolina Press, 1989. Copyright © 1989 by The University of North Carolina Press. All rights reserved. Reproduced by permission of the publisher.—Humphreys, A. R. From the Introduction to The Arden Shakespeare: Much Ado about Nothing. Edited by A. R. Humphreys. Methuen, 1981. Copyright © 1981 by Methuen & Co. Ltd. Reproduced by permission of International Thomson Publishing Services Ltd. and the author.—Kehler, Dorothea. From “Jaquenetta’s Baby’s Father: Recovering Paternity in Love’s Labor’s Lost,”in Renaissance Papers, 1990. Edited by Dale B. J. Randall and Joseph A. Porter. The Southeastern Renaissance Conference, 1990. All rights reserved. Reproduced by permission of Boydell & Brewer, Inc.—Kerrigan, John. From the Introduction to William Shakespeare’s Love’s Labour’s Lost. Edited by John Kerrigan. Penguin Books, 1982. Copyright © 1982, 1996 by John Kerrigan. All rights reserved. Used by permission of the author.—Levin, Richard A. From “Crime and Cover-up in Messina,” in Love and Society in Shakespearean Comedy: A Study of Dramatic Form and Content. Edited by Harold Bloom. University of Delaware Press, 1985. Copyright © 1985 by Associated University Presses, Inc. Reproduced by permission.—Marsland, Elizabeth. From “Updating Agincourt: The Battle Scenes in Two Film Versions of Henry V,”in Modern War on Stage and Screen. Edited by Wolfgang Gortschacher and Holger Klein. Edwin Mellen Press, 1997. Copyright © 1997 by The Edwin Mellen Press. All rights reserved. Reproduced by permission.—Maus, Katharine Eisaman. From “Transfer of Title in Love’s Labor’s Lost: Language, Individualism, Gender,” in Shakespeare Left and Right. Edited by Ivo Kamps. Routledge, 1991. Copyright © 1991 by Routledge, Chapman and Hall, Inc. All rights reserved. Reproduced by permission of the author and Routledge/Taylor & Francis Books, Inc.—Meron, Theodor. From Bloody Constraint: War and Chivalry in Shakespeare. Oxford University Press, 1998. Copyright © 1998 by Theodor Meron. All rights reserved. Used by permission of Oxford University Press Inc.—Meron, Theodor. From Henry’s Wars and Shakespeare’s Laws: Perspectives on the Law of War in the Later Middle Ages. Clarendon Press, 1993. Copyright © 1993 by Theodor Meron. All rights reserved. Reproduced by permission of Oxford University Press.—Nakanori, Koshi. From “The Structure of Love’s Labour’s Lost,” in Love’s Labour’s Lost: Critical Essays. Edited by Felicia Hardison Londre. Translated from the Japanese by Toru Iwasaki. Garland Publishing, Inc., 1997. Copyright © 1997 by Felicia Hardison Londre. All rights reserved. Reproduced by permission of the Routledge/Taylor & Francis Books, Inc.—Prouty, Charles T. From The Sources of Much Ado about Nothing: A Critical Study. Yale University Press, 1950. Copyright © 1950 by Yale University Press. Renewed 1978 by Charles T. Prouty. All rights reserved. Reproduced by permission.—Skura, Meredith Anne. From “Armado and Costard in The French Academy: Player as Clown,” in Love’s Labour’s Lost: Critical Essays. Edited by Felicia Hardison Londre. Garland Publishing, Inc., 1997. Copyright © 1993 by the University of Chicago. Reproduced by permission of the publisher and author.—Snyder, Susan. From “The Norwegians Are Coming!: Shakespearean Misleadings,” in Elizabethan Theatre. Edited by R. B. Parker and S. P. Zitner. University of Delaware Press, 1996. Copyright © 1996 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Thomas, Sidney. From “Mannerism and Anti-Mannerism in Love’s Labour’s Lost: ‘The Words of Mercury are Harsh After the Songs of Apollo,’” in Shakespeare’s Universe: Renaissance Ideas and Conventions. Edited by John M. Mucciolo, Steven J. Doloff, and Edward A. Rauchut. Scolar Press, 1996. Copyright © 1996 by Sidney Thomas. Reproduced by permission.—Tucker, Kenneth. From Shakespeare and Jungian Typology: A Reading of the Plays. McFarland & Company, Inc., 2003. Copyright © 2003 Kenneth Tucker. All rights reserved. Reproduced by permission of McFarland & Company, Inc., Box 611, Jefferson NC 28640. ww.mcfarlandpub.com.—Willems, Michèle. From “Women and Horses and Power and War: Worship of Mars from 1 Henry IV to Coriolanus,”in French Essays on Shakespeare and His Contemporaries. Edited by Jean-Marie Manguin and Michèle Willems. University of Delaware Press, 1995. Copyright © 1995 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 88, WERE RECEIVED FROM THE FOLLOWING SOURCES:

All’s Well That Ends Well. Helena and Bertram in a scene from All’s Well That Ends Well. From Shakespearean Scenes (1876), photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Henry V. Kenneth Branagh as Henry V and Brian Blessed as Exeter in a scene from Kenneth Branagh’s 1989 film adaptation of Henry V, photograph. The Kobal Collection. Reproduced by permission.—King John, Act III, scene i. King John, King Philip, Cardinal Pandulph, Arthur, Constance, and others, by Max Adamo (artist) and Tob. Bauer (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—King John, Act IV, scene i. Huburt and Arthur, by Max Adamo (artist) and J. Bankel (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—King John. Franklin McLeay as King John, ca. 1899, London, England, photograph. Copyright © Hulton-Deutsch Collection/Corbis. Reproduced by permission.—King John. Prince Arthur and Hubert, by John Rogers, 19th century, photograph. Copyright © Historical Picture Archive/Corbis. Reproduced by permission.—Love’s Labour’s Lost, Act III, scene i. Armado and Moth. Illustration by Norman Wilkinson of Four Oaks from Love’s Labour’s Lost, Players’ Shakespeare Series, 1924. Rare Book and Special Collections Division, Library of Congress. Reproduced by permission.—Love’s Labour’s Lost, Act V, scene ii. Princess of France, Katharine, Rosaline, Maria, and others. Special Collections Library, University of Michigan. Reproduced by permission.—Love’s Labour’s Lost. Robert Portal as Dumaine, Jeremy Northam as Berowne, Owen Teale as King of Navarre, and David Birrell as Longaville in the 1994 Royal Shakespeare Company production of Love’s Labour’s Lost, photograph. Copyright © Robbie Jack/Corbis. Reproduced by permission.—Much Ado About Nothing, Act III, scene iii. Borachio, Conrade, and Watchmen, by Francis Wheatley (artist) and George Noble (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Much Ado About Nothing. Actors portraying Don John, Borachio, and Claudio (pretending to be Benedick) in a scene from the 1952 production of Much Ado about Nothing at the Phoenix Theatre in London, photograph by Godfrey Thurston Hopkins. Copyright © Hulton-Deutsch Collection/Corbis. Reproduced by permission.—Much Ado About Nothing. Diana Wynyard as Beatrice and John Gielgud as Benedick in a scene from the 1952 production of Much Ado about Nothing at the Phoenix Theatre in London, photograph by Godfrey Thurston Hopkins. Copyright © Historical Picture Archive/Corbis. Reproduced by permission.—Troilus and Cressida. Joseph Fiennes as Troilus and Victoria Hamilton as Cressida in a scene from the 1996 Royal Shakespeare Company production of Troilus and Cressida, photograph. Copyright © Robbie Jack/Corbis. Reproduced by permission.

Barbara M. Bibel Heather Martin

Librarian Arts & Humanities Librarian Oakland Public Library University of Alabama at Birmingham, Sterne Library Oakland, California Birmingham, Alabama

Dr. Toby Burrows Susan Mikula

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

Thomas Nixon Celia C. Daniel Humanities Reference Librarian

Associate Reference Librarian University of North Carolina at Chapel Hill, Davis Howard University Libraries Library

Washington, D.C. Chapel Hill, North Carolina

David M. Durant Mark Schumacher

Reference Librarian

Joyner Library Jackson Library East Carolina University University of North Carolina at Greensboro

Greenville, North Carolina Greensboro, North Carolina

Nancy T. Guidry Gwen Scott-Miller

Librarian Assistant Director Bakersfield Community College Sno-Isle Regional Library System Bakersfield, California Marysville, Washington