Editor

COPYRIGHTED EXCERPTS IN SC, VOLUME 52, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

The British Journal of Aesthetics, v. 24, Spring, 1984 for “Morality and Literature—The Necessary Conflict” by Lawrence

W. Hyman. © Oxford University Press 1984. Reproduced by permission of Oxford University Press and the Literary Estate of Lawrence W. Hyman.— Cahiers Élisabéthains, n. 30, October, 1986 for “Richard II and the Myth of the Fisher King” by Georges Lamoine/n. 37, April, 1990 for “Conflicting Paradigms and the Progress of Persuasion in Richard III” by Betty

A. Schellenberg. Both reproduced by permission of the authors.—Comparative Drama, v. 17, Summer, 1983; v. 20, Summer, 1986. © copyright 1983, 1986 by the Editors of Comparative Drama. Both reproduced by permission.—Critical Survey, v. 3, 1991. © C.Q. & S. 1991. Reproduced by permission.—Criticism: A Quarterly for Literature and the Arts, v. xx, Winter, 1978; v. xxiv, Fall, 1993. Copyright 1978, 1993, Wayne State University Press. Both reproduced by permission.— ECH, v. 43, Fall, 1976. Copyright © 1976 by The Johns Hopkins University Press. Reproduced by permission of The Johns Hopkins University Press.—English Literary Renaissance, v. 17, Autumn, 1987; v. 21, Autumn, 1991. Copyright © 1987, 1991 by English Literary Renaissance. Both reproduced by permission.—Interpretation: A Journal of Political Philosophy, v. 18, Fall, 1990; v. 20, Spring, 1993. Copyright © 1990, 1993 Interpretation. Both reproduced by permission.— Literature/Film Quarterly, v. 25, 1997. © Copyright 1997 Salisbury State University. Reproduced by permission.— Mosaic: A Journal for the Interdisciplinary Study of Literature, v. 15, June, 1982. © Mosaic 1982. Reproduced by permission.—Papers on Language and Literature, v. 33, Spring, 1997. Copyright © 1997 by The Board of Trustees, Southern Illinois University at Edwardsville. Reproduced by permission.—Philosophy and Literature, v. 19, October, 1995. Copyright © The Johns Hopkins University Press 1995. All rights reserved. Reproduced by permission of The Johns Hopkins University Press.—The Psychoanalytic Review, v. 56, 1969. Copyright © 1969, by the National Psychological Association for Psychoanalysis, Inc. Reproduced by permission.—Renascence: Essays on Values in Literature, v. xxxix, Winter, 1987. © copyright, 1987, Marquette University Press. Reproduced by permission.—The Review of English Studies, v. xli, February, 1990 for “The Censorship of the Deposition Scene in Richard II” by Janet Clare. © Oxford University Press 1990. Reproduced by permission of Oxford University Press and the author.—Shakespeare Quarterly, v. 29, Spring, 1978; v. 35, Autumn, 1984; v. 36, Summer, 1985; v. 37, Autumn, 1986; v. 48, Winter, 1997. © The Folger Shakespeare Library, 1978, 1984, 1985, 1986, 1997. All reproduced by permission of Shakespeare Quarterly.—Shakespeare Studies: An Annual Gathering of Research, Criticism, and Reviews, v. IX, 1976 for “Jessica’s Morals: A Theological View” by Austin C. Dobbins and Roy W. Battenhouse. Copyright © 1976, The Council for Research in the Renaissance. Reproduced by permission Austin C. Dobbins and the Literary Estate of Roy W. Battenhouse/v. XIV, 1981 for “‘Craft Against Vice’: Morality Play Elements in Measure for Measure” by Mathew Winston; v. XVI, 1983 for “Providence, Authority, and the Moral Life in The Tempest” by R.A.D. Grant; v. XX, 1988 for “Accommodation and Synecdoche: Calvin’s God in King Lear” by Michael H. Keefer; Copyright © 1983, 1988 The Council for Research in the Renaissance. All reproduced by permission of the authors.—South Atlantic Review, v. 57, November, 1992. Copyright © 1992 by the South Atlantic Modern Language Association. Reproduced by permission.—Studies in English Literature, 1500-1900, v. 31, Spring, 1991. Reproduced by permission of The Johns Hopkins University Press.—Studies in Philology, v. lxxxiv, Summer, 1987. © 1987 The University of North Carolina Press. Used by permission of the publisher.—Studies in the Literary Imagination, v. 26, 1993. Copyright 1993 Department of English, Georgia State University. Reproduced by permission.—University of Hartford Studies in Literature,v. 11, 1979. Copyright © 1979 by the University of Hartford. Reproduced by permission.

COPYRIGHTED EXCERPTS IN SC, VOLUME 52, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Bushnell, Rebecca W. From Tragedies of Tyrants: Political Thought and Theater in the English Renaissance. Cornell University Press, 1990. Copyright © 1990 by Cornell University. All rights reserved. Used by permission of Cornell Uni

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versity Press.—Charnes, Linda. From Notorious Identity: Materializing the Subject in Shakespeare. Harvard University Press, 1993. Copyright © 1993 by the President and Fellows of Harvard College. All rights reserved. Reproduced by permission Harvard University Press.—Dessen, Alan C. From Shakespeare and the Late Moral Plays. University of Nebraska Press, 1986. Copyright 1986 by the University of Nebraska Press. All rights reserved. Reproduced by permission.—Hunt, John Dixon. From “Shakespeare and the Paragone: A Reading of Timon of Athens”in Images of Shakespeare: Proceedings of the Third Congress of the International Shakespeare Association, 1986. Edited by Werner Habicht, D. J. Palmer and Roger Pringle. University of Delaware Press, 1988. © 1988 Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Jacobus, Lee A. From Shakespeare and the Dialectic of Certainty. St. Martin’s Press, 1992. © Lee A. Jacobus 1992. All rights reserved. Reproduced by permission of St. Martin’s Press, Incorporated and the author. In the U.K. by permission of Macmillan, London and Basingstoke.—Mellamphy, Ninian. From “Wormwood in the Wood Outside Athens: Timon and the Problem for the Audience” in “Bad” Shakespeare: Revaluations of the Shakespeare Canon. Edited by Maurice Charney. Fairleigh Dickinson University Press, 1988. © 1988 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Rayner, Alice. From Comic Persuasion: Moral Structure in British Comedy from Shakespeare to Stoppard. University of California Press, 1987. © 1987 by The Regents of the University of California. Reproduced by permission.—Reese, M. M. From The Cease of Majesty: A Study of Shakespeare’s History Plays. Edward Arnold Publishers, Ltd., 1961. © M. M. Reese 1961. Reproduced by permission— Siegal, Paul N. From Shakespeare’s English and Roman History Plays: A Marxist Approach. Associated University Presses, 1986. © 1986 by Associated University Presses, Inc. Reproduced by permission.—Willis, Deborah. From Malevolent Nurture: Witch-Hunting and Material Power in Early Modern England. Cornell University Press, 1995. Copyright © 1995 by Cornell University. All rights reserved. Used by permission of Cornell University Press.

PHOTOGRAPHS APPEARING IN SC, VOLUME 52, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Bernhard, Matt with others, in a scene from a theater production of William Shakespeare’s Richard II, photograph by Ken Holmes. © GreenStage. Reproduced by permission.— From a theater production of William Shakespeare’s Richard II. Directed by Tony Driscoll for a GreenStage production at the Nippon Kan Theater, Seattle, 1998, with J. Bretton Truett as Bolingbroke, photograph by Ken Holmes; with Christopher Marshall as Aumerele, David Dodge as Richard II, Holly Fowers as Carlisle, Stephen Loch as Bagot and Linda Lombardi as Scroop, photograph by Ken Holmes; with David Dodge as Richard II and J. Bretton Truett as Bolingbroke, photograph by Ken Holmes. © GreenStage. All reproduced by permission.—From a theatre production of William Shakespeare’s Richard III. Directed by Tyrone Guthrie. Designed by Tanya Moiseiwitsch with Alec Guiness, centre, as Richard III, and members of the Festival Company. Photograph by Peter Smith. Courtesy of the Stratford Festival Archives.—Scene from a Michigan State University’s theatre production of William Shakespeare’s Richard III, 1999 Season, Act I, scene ii, photograph. MICHIGAN STATE UNIVERSITY. Reproduced by permission.—Scene from Michigan State University’s theatre production of William Shakespeare’s Richard III, with Jeffery Manion as the Duke of Buckingham, Nick Coligan as Richard III, and Chris Jensen as Lord Stanley, photograph. MICHI-GAN STATE UNIVERSITY THEATRE. Reproduced by permission.—Scene from the 1997 Stratford Festival production of Richard III by William Shakespeare. Directed by John Wood, designed by Patrick Clark, with Stephen Ouimette as Richard III. Photograph by Cylla von Tiedemann. Courtesy of the Stratford Festival Archives.—Scene from the 1997 Stratford Festival production of Richard III by William Shakespeare. Directed by John Wood, designed by Patrick Clark with, back row, l-r: David Keeley as George, Duke of Clarence, Stephen Ouimette as Richard III; middle row, l-r: Joyce Campion as The Duchess of York, James Blendick as King Edward IV, Diane D’Aquila as Queen Elizabeth; front row, l-r: Dan Bernier as Edward, Prince of Wales, Joe Dinicol as Richard, Duke of York. Photograph by Cylla von Tiedemann. Courtesy of the Stratford Festival Archives.—From a theater production of William Shakespeare’s Timon of Athens. Directed by Ken Holmes for a GreenStage Shakespeare in the Park production, Summer 1999, Seattle, with Tara Jensen as the Poet and Barzin Akhavan as the Painter, photograph by Ken Holmes. © GreenStage. Reproduced by permission.—From a theater production of William Shakespeare’s Timon of Athens. Directed by Ken Holmes for a GreenStage Shakespeare in the Park production, Summer 1999, Seattle, with Erin Day as Timon, photograph by Ken Holmes. © GreenStage. Reproduced by permission.—From a theater production of William Shakespeare’s Timon of Athens. Directed by Ken Holmes for a Green-Stage Shakespeare in the Park production, Summer 1999, Seattle, with Amelia Meckler as Lucullus, Stephen Loch as Alcibiades, Erin Day as Timon, Eli Sklov Simons as Lucius and David Nochimson as Sempronius, photograph by Ken Holmes. © GreenStage. Reproduced by permission.—From a theater production of William Shakespeare’s Timon of Athens. Directed by Ken Holmes for a GreenStage Shakespeare in the Park production, Summer 1999, Seattle, with Erin Day as Timon and David Dodge as Apemantus, photograph by Ken Holmes. © GreenStage. Reproduced by permission.