Sonnet 29 | Copyright

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The editors wish to thank the copyright holders of the excerpted criticism included in this volume, the permissions managers of many book and magazine publishing companies for assisting us in securing reprint rights, and Anthony Bogucki for assistance with copyright research. We are also grateful to the staffs of the Detroit Public Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reprint material in this volume of SFS. Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED EXCERPTS IN SFS WERE REPRINTED FROM THE FOLLOWING PERIODICALS:

The American Scholar, v. 42, Spring, 1973 for "As We Like it: How a Girl Can Be Smart and Still Popular" by Clara Claiborne Park. Copyright © 1973. Reprinted by permission of the author.—CLA Journal, v. XXVII, June, 1985. Copyright, 1985 by The College Language Association. Used by permission of The College Language Association.--.ELfl; v. 48, Spring, 1981. Copyright © 1981 by The Johns Hopkins University Press. All rights reserved. Reprinted by permission of the publisher.— English Journal v. 74, February, 1985 for " 'Not Life, but Love in Death': Oxymoron at the Thematic Heart of 'Romeo and Juliet' " by C. Webster Wheelock. Copyright © 1985 by the National Council of Teachers of English. Reprinted by permission of the publisher and the author.—Etudes Anglaises, v. XVII, October-December, 1964. Reprinted by permission of the publisher.—The Listener, v. 100, December 21-28, 1978 for "As You Like Shakespeare" by Brigid Brophy. © British Broadcasting Corp. 1978. Reprinted by permission of the author.—Neophilologus, v. LVI, April, 1972 for "Shakespeare and the Green-Eyed Monster" by D. R. Godfrey. © 1972 by Wolters-Noordhoff. Reprinted by permission of the publisher and the Literary Estate of D. R. Godfrey.—Papers on Language & Literature, v. 2, Summer, 1966. Copyright © 1966 by the Board of Trustees, Southern Illinois University. Reprinted by permission of the publisher.—Renaissance Drama, n.s.,v.XI, 1980. Copyright© 1980 by Northwestern University Press. All rights reserved. Reprinted by permission of the publisher.— Shakespeare Quarterly, v. XV, Autumn, 1964; v. XXI, Spring, 1970; v. XXIV, Winter, 1973. © The Folger Shakespeare Library 1964, 1970, 1973. All reprinted by permission of the publisher.— Shakespeare Studies: An Annual Gathering of Research, Criticism, and Reviews, v. 4, 1968; v. 9, 1976. Copyright © 1968, 1976, The Council for Research in the Renaissance. Both reprinted by permission of the publisher.—Shakespeare Survey: An Annual Survey of Shakespearian Study and Production, v. 19, 1966 for "Image and Symbol in 'Macbeth'," by Kenneth Muir; v. 32, 1979 for "Sexual Disguise in 'As You Like If and 'Twelfth Night'," by Nancy K. Hayles. © Cambridge University Press, 1966,1979. Both reprinted by permission of the respective authors.—Stanford Literature Review, v. 1, Fall, 1984. © 1984 by Anma Libri & Co. All rights reserved. Reprinted by permission of the publisher and Department of French and Italian, Stanford University.—Studies in English Literature, 1500-1900, v. II, 1962 for " 'No Clock in the Forest': Time in 'As You Like It'" by Jay L. Halio; v. XIII, Spring, 1973 for "The Perversion of Manliness in 'Macbeth' " by Jarold Ramsey. © 1962,1973 William Marsh Rice University. Both reprinted by permission of the publisher and the respective authors.—The Tulane Drama Review, v. 9, Summer, 1965 for "Hamlet Nearly Absurd: The Dramaturgy of Delay" by Robert Hapgood. Copyright © 1965, The Tulane Drama Review. Reprinted by permission of the MIT Press and the author.—Women's Studies: An Interdisciplinary Journal, v. 9, 1981; v. 9, 1982. © Gordon and Breach Science Publishers. Both reprinted by permission of the publisher.—The Yale Review, v. XLI, June, 1952 for "The World of Hamlet" by Maynard Mack. Copyright 1952, renewed 1980 by Yale University. Reprinted by permission of the author./v. XXXII, Winter, 1943. Copyright 1942, renewed 1971 by Yale University. Reprinted by permission of the editors.

COPYRIGHTED EXCERPTS IN SFS WERE REPRINTED FROM THE FOLLOWING BOOKS:

Adelman, Janet. From " 'Bom of Woman': Fantasies of Maternal Power in 'Macbeth'," in Cannibals, Witches, and Divorce: Estranging the Renaissance. Edited by Marjorie Gruber. The Johns Hopkins University Press, 1987. © 1987 The English Institute. All rights reserved. Reprinted by permission of the publisher.—Barnet, Sylvan. From "The Comedies," in The Complete Signet Classic Shakespeare. Edited by Sylvan Barnet. Harcourt Brace Jovanovich, Inc., 1972. © 1972 by Sylvan Barnet. Used by permission of New American Library, a Division of Penguin Books USA, Inc., New York, NY.—Bevington, David. From an introduction to Twentieth Century Interpretations of Hamlet A Collection of Critical Essays. Edited by David Bevington. Prentice-Hall, 1968. Copyright © 1968 by Prentice-Hall, Inc. All rights reserved. Used by permission of Prentice-Hall, Inc., Englewood Cliffs, NJ.—Brodwin, Leonora Leet. From Elizabethan Love Tragedy: 1587-1625. New York University Press, 1971. Copyright © 1971 by New York University. Reprinted by permission of the publish-er.—Campbell, Oscar James. From Shakespeare's Satire. Oxford University Press, 1943. Copyright 1943 by Oxford University Press, Inc. Renewed 1971 by Mrs. Robert L. Goodale, Mrs. George W. Meyer, and Robert F. Campbell. Reprinted by permission of the publisher.—Charney, Maurice. From Shakespeare's Roman Plays: The Function of Imagery in the Drama. Cambridge, Mass.: Harvard University Press, 1961. Copyright © 1961 by the President and Fellows of Harvard College. Renewed 1989 by Maurice Charney. Ail rights reserved. Excerpted by permission of the publishers and the author.—Clemen, Wolfgang. From an introduction to A Midsummer Night's Dream. By William Shakespeare, edited by Wolfgang Clemen. New American Library, 1963. Copyright © 1963,1986 by Wolfgang Clemen. Copyright © 1963,1986,1987 by Sylvan Barnet. All rights reserved. Used by permission of New American Library, a Division of Penguin Books USA Inc., New York, NY.—Cole, Douglas. From an introduction to Twentieth Century Interpretations of Romeo and Juliet A Collection of Critical Essays. Edited by Douglas Cole. Prentice-Hall, 1970. Copyright © 1970 by Prentice-Hall, Inc., Englewood Cliffs, New Jersey. All rights reserved. Used by permission of Prentice-Hall, Inc., Englewood Cliffs, NJ.—Cowhig, Ruth. From "Blacks in English Renaissance Drama and the Role of Shakespeare's Othello," in The Black Presence in English Literature. Edited by David Dabydeen. Manchester University Press, 1985. Copyright © Manchester University Press 1985. Reprinted by permission of the publisher.—Danson, Lawrence. From The Harmonies of "The Merchant of Venice. "Yale University Press, 1978. Copyright © 1978 by Yale University. All rights reserved. Reprinted by permission of the publisher.—Danson, Lawrence. From Tragic Alphabet Shakespeare's Drama of Language. Yale University Press, 1974. Copyright © 1974 by Yale University. All rights reserved. Reprinted by permission of the publisher.—Frye, Northrop. From Northrop Frye on Shakespeare. Edited by Robert Sandier. Yale University Press, 1986. Copyright © Northrop Frye 1986. All rights reserved. Reprinted by permission of the publisher.—Goddard, Harold C. From The Meaning of Shakespeare. University of Chicago Press, 1951. Copyright 1951 by The University of Chicago. Renewed 1979 by Margaret G. Holt and Eleanor G. Worthen. All rights reserved. Reprinted by permission of the publisher and the Literary Estate of Harold C. Goddard.—Godshalk, William Leigh. From Patterning in Shakespearean Drama: Essays in Criticism. Mouton, 1973. © Copyright 1973 Mouton & Co., Publishers. Reprinted by permission of Mouton de Gruyter, a Division of Walter de Gruyter & Co and the author.—Granville-Barker, Harley. From Prefaces to Shakespeare: King Lear, Cymbe-line, Julius Caesar. Princeton University Press, 1946. Copyright © 1946, renewed 1974 by Princeton University Press. Reprinted by permission of The Society of Authors as the literary representative of the Estate of Harley Granville-Barker.—Harbage, Alfred. From William Shakespeare: A Reader's Guide. Farrar, Straus and Giroux, 1963. Copyright © 1963 by Alfred Harbage. Reprinted by permission of Farrar, Straus and Giroux, Inc.—Hart, John A. From Dramatic Structure in Shakespeare's Romantic Comedies. Carnegie-Mellon University Press, 1980. Copyright © 1980 by John A. Hart. Reprinted by permission of the author.—Jones, Ernest. From Hamlet and Oedipus. Norton, 1949. Copyright 1949 by Ernest Jones. Renewed 1982 by Merwyn Jones. All rights reserved. Reprinted by permission of W. W. Norton & Company, Inc. In Canada by the Literary Estate of Ernest Jones.—Knoll, Robert E. From "The Organization of the Play," in The Shakespeare Plays: A Study Guide. The University of California, 1978. Copyright © 1978 by The Regents of the University of California and the Coast Community College District. All rights reserved. Reprinted by permission of the author.— Kott, Jan. From Shakespeare, Our Contemporary. Translated by Boleslaw Taborski. Doubleday, 1964. Originally published as Szkice o Szekspirze. Panstwowy Instytut Wydawniczy, 1961. Translation Copyright © 1964 Panstwowe Wydawnictwo Naukowe and Doubleday. Used by permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. In Canada by Jan Kott.— Leech, Clifford. From "The Moral Tradegy of 'Romeo and Juliet'," in English Renaissance Drama: Essays in Honor of Madeline Doran & Mark Eccles. Standish Henning, Robert Kimbrough, and Richard Knowles, eds. Southern Illinois University Press, 1976. Copyright © 1976 by Southern Illinois University Press. All rights reserved. Reprinted by permission of the Literary Estate of Clifford Leech.—Lidz, Theodore. From Hamlet's Enemy: Madness and Myth in "Hamlet" Basic Books, 1975. Copyright © 1975 by Theodore Lidz. Reprinted by permission of Basic Books, Inc., Publishers.—Maxwell, Baldwin. From "Hamlet's Mother," in Shakespeare 400: Essays by American Scholars on the Anniversary of the Poet's Birth. Edited by James G. McManaway. Holt, Rinehart and Winston, Inc., 1964. Copyright © 1964 by Holt, Rinehart and Winston. Reprinted by permission of Henry Holt and Company, Inc.—McCarthy, Mary. From "General Macbeth," in Theatre Chronicles, 1937-1962. Farrar, Straus and Giroux, 1963. Copyright © 1962 by Mary McCarthy. Reprinted by permission of the Literary Estate of Mary McCarthy.—Muir, Kenneth. From Shakespeare: Hamlet Barron's Educational Series, Inc., 1963. © Kenneth Muir 1963. Reprinted by permission of Barron's Educational Series, Inc., Woodbury, NY 11797.—Muir, Kenneth. From Shakespeare's Comic Sequence. Barnes & Noble Books, 1979. Copyright © 1979 by Liverpool University Press. All rights reserved. Reprinted by permission of the publisher.—Richman, David. From Laughter, Pain, and Wonder: Shakespeare's Comedies and the Audience in the Theater. University of Delaware Press, 1990. © 1990 by Associated University Presses, Inc. All rights reserved. Reprinted by permission of the publisher.—Schanzer, Ernest. From The Problem Plays of Shakespeare: A Study of "Julius Caesar," "Measure for Measure," "Anthony and Cleopatra." Routledge & Kegan Paul, 1963. © Ernest Schanzer 1963. Reprinted by permission of the publisher.—Shalvi, Alice. From "The First Tragedy: 'Romeo and Juliet'," in The World & Art of Shakespeare. By A. A. Mendilow and Alice Shalvi. Israel Universities Press, 1967. Copyright © Israel Program for Scientific Translations, 1967. Reprinted by permission of the author.—Shalvi, Alice. From "Shakespeare's 'High RomEtei Fashion': Julius Caesar," in The World & Art of Shakespeare. By A. A. Mendilow and Alice Shalvi. Israel Universities Press, 1967. Copyright © Israel Program for Scientific Translations, 1967. Reprinted by permission of the author.—Stirling, Brents. From The Populace in Shakespeare. Columbia University Press, 1949. Copyright 1949, Columbia University Press. Renewed 1976 by Brents Stirling. Used by permission of the publisher.—Stirling, Brents. From Unity in Shakespearian Tradegy: The Interplay of Theme and Character. Columbia University Press, 1956. Copyright © 1956 by Columbia University Press. Renewed 1984 by Brents Stirling. Used by permission of the publisher.—Turner, Frederick. From Shakespeare and the Nature of Time: Moral and Philosophical Themes in Some Plays and Poems of William Shakespeare. Oxford at the Clarendon Press, 1971. © Oxford University Press, 1971. Reprinted by permission of Oxford University Press.—Van Laan, Thomas F. From Role-playing in Shakespeare. University of Toronto Press, 1978. © University of Toronto Press 1978. Reprinted by permission of the publisher.—Vaughn, Jack A. From Shakespeare's Comedies. Frederick Ungar Publishing Co., 1980. Copyright © 1980 by The Ungar Publishing Company. Reprinted by permission of the publisher.—Warnken, Henry L. From "Iago as a Projection of Othello," in Shakespeare Encomium. Edited by Anne Paolucci. The City College, 1964. Copyright © The City College of The City University of New York 1964. Reprinted by permission of the Simon H. Rifkind Center for the Humanities.—Yates, Frances A. From The Occult Philosophy in the Elizabeth Age. Routledge, 1979. © Frances A. Yates 1979. Reprinted by permission of the Peters, Fraser & Dunlop Group Ltd.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN SFS WERE RECEIVED FROM THE FOLLOWING SOURCES:

Joe Cocks Studio: pp. 4,342; Zoe Dominic: pp. 25,311,431; The Department of Rare Books and Special Collections, The University of Michigan Library: pp. 36,217, 222, 279, 332,438,496,516; From the Art Collection of the Folger Shakespeare Library: p. 115; Photograph by Bertram Park: p. 129; Photograph by Houston Rogers: pp. 158, 241, 465; Photograph by Angus McBean, Harvard Theatre Collection: pp. 177, 229, 407, 453; Photograph by Ivan Kyncl: p. 190; Photograph by Roger Wood: pp. 249, 287; The Bettmann Archive: p. 257; Photograph by Anthony Crickmay: p. 351; Photograph by David Cooper: p. 364; Photograph by David Farrell: p. 393; British Theatre Museum, London pp. 400, 476; Mander and Mitchenson Theatre Collection: p. 417; Woodfin Camp & Associates, Inc.: p. 445; The Museum of Modern Art/Film Stills Archive, courtesy of Paramount Pictures: p. 506.