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COPYRIGHTED EXCERPTS IN SC, VOLUME 58, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

American Imago, v. 40, Winter, 1983. Copyright © 1983 by Association for Applied Psychoanalysis, Inc. Reproduced by permission of The Johns Hopkins University Press.—College Literature, v. 25, Winter, 1998. Copyright © 1998 by West Chester University. Reproduced by permission.—Common Knowledge, v. 4, 1995 for “Telling the Truth with Authority: From Richard II to Richard II,” by Ruth Morse. Reproduced by permission of the publisher and the author.—Comparative Drama, v. 29, Spring, 1995. © copyright 1995, by the Editors of Comparative Drama. Reproduced by permission.— English Literary Renaissance, v. 11, Winter, 1981. Copyright © 1981 by English Literary Renaissance. Reproduced by permission.—English Studies in Canada, v. 13, December, 1987 for “The Collapse of Shakespeare’s High Style in The Two Noble Kinsmen,” by A. Lynne Magnusson. © Association of Canadian University Teachers of English, 1987. Reproduced by permission of the publisher and the author.—Essays in Literature, v. 12, Spring, 1985. Reproduced by permission.—Journal of Medieval and Early Modern Studies, v. 22, Fall, 1992. Copyright © 1992 by Duke University Press, Durham, NC. Reproduced by permission.—Papers on Language & Literature, v. 33, Summer, 1997. Copyright © 1997 by The Board of Trustees, Southern Illinois University at Edwardsville. Reproduced by permission.—Renaissance and Reformation, Vol. XXVI, Winter, 1991. © Canadian Society for Renaissance Studies / Societe Canadienne d’Etudes de la Renaissance. Reproduced by permission.—Renaissance Drama, n.s. v. XXVI, 1995. Copyright © 1997 by Northwestern University Press. Reproduced by permission.—Renaissance Papers, 1998. Reproduced by permission.—Renaissance Quarterly, v. 31, 1978. Reproduced by permission.—Shakespeare Jahrbuch, v. 117, 1981. Reproduced by permission.— Shakespeare Quarterly, v. 24, 1973; v. 33, 1982; v. 34, 1983. © The Folger Shakespeare Library, 1973, 1982, 1983. Reproduced by permission.—Shakespeare Studies, v. XXII, 1994 for “’To the Very Heart of Loss’: Renaissance Iconography in Shakespeare’s Antony and Cleopatra,” by Peggy Muñoz Simonds; v. XXVII, 1999 for “The Language of Treason in Richard II,” by Dermot Cavanagh. © 1994, 1999 by Associated University Presses, Inc. Reproduced by permission.—Shakespeare Survey, v. 27, 1974 for “The Antic Disposition of Richard II,” by Lois Potter. © Lois Potter, 1974. Reproduced by permission of Cambridge University Press and the author.—Studies in English Literature, v. 28, Spring, 1988. © 1988 The Johns Hopkins University Press. Reproduced by permission.

COPYRIGHTED EXCERPTS IN SC, VOLUME 58, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Barroll, J. Leeds. From Shakespearean Tragedy: Genre, Tradition, and Change in Antony and Cleopatra. Folger Books, 1984. Copyright © 1984 by Associated University Presses, Inc. Reproduced by permission of Folger Shakespeare Library.—Bertram, Paul. From Shakespeare and The Two Noble Kinsmen. Rutgers University Press, 1965. Copyright © 1965 by Rutgers, The State University. Reproduced by permission of Rutgers, The State University.—Boehrer, Bruce Thomas. From “Bestial Buggery in A Midsummer Night’s Dream,”in The Production of English Renaissance Culture. Edited by David Lee Miller, Sharon O’Dair, and Harold Weber. Cornell University Press, 1994. Copyright © 1994 by Cornell University. All rights reserved. Reproduced by permission.—Calderwood, James L. From Metadrama in Shakespeare’s Henriad. University of California Press, 1979. Copyright © 1979 The Regents of the University of California Press. Reproduced by permission.—Clark, Bruce. From Allegories of Writing: The Subject of Metamorphosis. State University of New York Press, 1995. © 1995 State University of New York. All rights reserved. Reproduced by permission.—Donaldson, W. Talbot. From The Swan at the Well: Shakespeare Reading Character. Yale University Press, 1985. Copyright © 1985 by Yale University. All rights reserved. Reproduced by permission.—Floyd-Wilson, Mary. From “Transmigrations: Crossing Regional and Gender Boundaries in Antony and Cleopatra,”in Enacting Gender on the English Renaissance Stage. Edited by Viviana Comensoli and Anne Russell. University of Illinois Press, 1999. © 1999 by

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the Board of Trustees of the University of Illinois. Reproduced by permission.—Girard, René. From “Myth and Ritual in Shakespeare: A Midsummer Night’s Dream,”in Textual Strategies: Perspectives in Post-Structuralist Criticism. Edited by Josué V. Harari. Cornell University Press, 1979. Copyright © 1979 by Cornell University. All rights reserved. Reproduced by permission.—Hackett, Helen. From A Midsummer Night’s Dream. Northcote House, 1997. Copyright © 1997 by Helen Hackett. Reproduced by permission.—Hall, Jonathan. From Anxious Pleasures: Shakespearean Comedy and the Nation-State. Fairleigh Dickinson University Press, 1995. © 1995 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Kujawinska-Courtney, Krystyna. From “Antony and Cleopatra: The Narrative Construction of the Other,” in ‘Th’ Interpretation of the Time’: The Dramaturgy of Shakespeare’s Roman Plays. University of Victoria, 1993. © 1993 by Krystyna Kujawinska-Courtney.—Leggatt, Alexander. From English Renaissance Comedy. Manchester University Press, 1999. Copyright © Alexander Leggatt 1999. Reproduced by permission.—Lewis, Cynthia. From Particular Saints: Shakespeare’s Four Antonios, Their Contexts, and Their Plays. University of Delaware Press, 1997. © 1997 by Associated University Presses, Inc. Reproduced by permission.—Mack, Maynard. From “The Stillness and the Dance: Antony and Cleopatra,” in Shakespeare’s Art: Seven Essays. Edited by Milton Crane. The George Washington University Press, 1973. Reproduced by permission of author.—Nevo, Ruth. From Tragic Form in Shakespeare. Princeton University Press, 1972. © 1972 by Princeton University Press. Reproduced by permission.—Norbrook, David. From “’A Liberal Tongue’: Language and Rebellion in Richard II,” in Shakespeare’s Universe: Renaissance Ideas and Conventions. Edited by John M. Mucciolo, with Steven J. Doloff and Edward A. Rauchut. Scholar Press, 1996. © David Norbrook, 1996. All rights reserved. Reproduced by permission.—Page, Malcolm. From Richard II: Text and Performance. Macmillan Education, 1987. © Malcolm Page 1987. All rights reserved. Reproduced by permission of Macmillan, London and Basingstoke.—Potter, Lois. From The Two Noble Kinsmen. By John Fletcher and William Shakespeare, edited by Lois Potter. Thomas Nelson and Sons Ltd., 1997. Editorial material © 1997 Lois Potter. Reproduced by permission.—Roberts, Jeanne Addison. From “Crises of Male Self-Definition in The Two Noble Kinsmen,” in Shakespeare, Fletcher and The Two Noble Kinsmen. Edited by Charles H. Frey. University of Missouri Press, 1989. Copyright © 1989 by The Curators of the University of Missouri. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 58, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Act IV, scene iii, from William Shakespeare’s Antony and Cleopatra, from Smirke’s Illustrations, photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Act V, scene ii, from William Shakespeare’s Richard II, from Boydell-Shakespeare Gallery, photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Armstrong, Louis performing in a swing version of William Shakespeare’s A Midsummer Night’s Dream, photograph. © Lucien Aigner/Corbis. Reproduced by permission.—Burton, Richard and Elizabeth Taylor in the 1962 film Cleopatra, photograph. The Kobal Collection. Reproduced by permission.—Cagney, James in a scene from the 1935 film A Midsummer Night’s Dream, directed by Max Reinhart and William Dieterle. The Kobal Collection. Reproduced by permission.—Duncan, Lindsay as Hippolyta in a scene from the 1996 film A Midsummer Night’s Dream, directed by Adrian Noble, based on the play by William Shakespeare. The Kobal Collection. Reproduced by permission.—Frontispiece for the 1634 production of William Shakespeare’s The Two Noble Kinsmen, photograph. University of Michigan Library. Reproduced by permission.—Gielgud, Sir John as Richard II in William Shakespeare’s Richard II, photograph. © Hulton-Deutsch Collection/Corbis. Reproduced by permission.—Hutt, William as Richard II, Jackie Burroughs as the Queen, and members of the Festival company in a scene from the 1964 Stratford Festival production of William Shakespeare’s Richard II, directed by Stuart Burge, photograph by Peter Smith. The Stratford Festival. Reproduced by permission.—Langtry, Lillie as Cleopatra from the 1890 production of William Shakespeare’s Antony and Cleopatra, photograph. The Library of Congress.—Pfeiffer, Michelle as Titania and Kevin Kline as Nick Bottom in a scene from the 1999 film adaptation of A Midsummer Night’s Dream, directed by Michael Hoffman, photograph by Marlo Tursi. AP/Wide World Photos. Reproduced by permission.—Quarshie, Hugh as Arcite, Peter Guinness as Theseus, and Gerard Murphy as Palamon in William Shakespeare’s The Two Noble Kinsmen, 1986, photograph by Donald Cooper. Photostage Ltd. Reproduced by permission.— Stubbs, Imogen as Gaoler’s daughter in a scene from a 1987 production of William Shakespeare’s The Two Noble Kinsmen, photograph by Donald Cooper. Photostage Ltd. Reproduced by permission.—Webster, Hugh as First Gardener, Lewis Gordon as Second Gardener, Tommy Murray as Gardener’s Boy, Suzanne Grossman as Lady-in-Waiting, and Jackie Burroughs as the Queen in a scene from the 1964 Stratford Festival production of William Shakespeare’s Richard II, directed by Stuart Burge, photograph by Peter Smith. The Stratford Festival. Reproduced by permission.—Zane, Billy as Marc Antony, Leonor Varela as Cleopatra, and Timothy Dalton as Julius Caesar in the miniseries Cleopatra, directed by Franc Roddam, photograph by Dan Winters. AP/Wide World Photos. Reproduced by permission.