{"title":"“King Lear”: A New Variorum Edition of Shakespeare. Edited by Richard Knowles","authors":"B. Vickers","doi":"10.1093/sq/quac024","DOIUrl":"https://doi.org/10.1093/sq/quac024","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42168768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare and Emotion. Edited by Katherine A. Craik","authors":"Emily Sarah Barth","doi":"10.1093/sq/quac019","DOIUrl":"https://doi.org/10.1093/sq/quac019","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47869353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare and the Fall of the Roman Republic: Selfhood, Stoicism, and Civil War by Patrick Gray (review)","authors":"Erin Casey-Williams","doi":"10.1093/sq/quac020","DOIUrl":"https://doi.org/10.1093/sq/quac020","url":null,"abstract":"other, exploring everything from the negotiation of space, to shared emotion, to sympathy’s (generally undeliverable) promise of affinity (15). The next four essays examine how Shakespeare responds to the emotional content in his source material. Gwynne Kennedy and Indira Ghose’s chapters on anger and pride find Shakespeare reflecting on and rewriting those emotions in his own work; chapters like these provide particularly good preparation for the final group of three essays in part 2, which tackle feelings we do not necessarily readily identify as emotions. Hester Lees-Jeffries considers nostalgia, while Tom Bishop’s chapter considers wonder and Timothy M. Harrison’s closing chapter explores confusion. These final essays propose a set of ideas that has been active throughout the collection: that emotions are never singular, that the experience of emotion is messy and difficult, and that Shakespeare actively resists any neat ordering of emotional experience. This collection’s reliance on such a wide variety of perspectives, drawing as it does on political, religious, ethical, and practical resources, results in a generous and timely contribution of scholarship that seeks to do what the authors see Shakespeare doing: these chapters “reflect upon, and reimagine, the ways art can revitalise the way we experience the world” (7).","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"72 1","pages":"163 - 165"},"PeriodicalIF":0.3,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48519266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Distinguished by the Letter C\": Edmond Malone and Edward Capell as Rival Editors of Shake-speares Sonnets","authors":"Jane Kingsley-Smith","doi":"10.1093/sq/quac023","DOIUrl":"https://doi.org/10.1093/sq/quac023","url":null,"abstract":"I N HIS SUPPLEMENT TO THE EDITION OF SHAKSPEARE’S PLAYS, published in 1780, Edmond Malone included an edited text of the 1609 quarto Shake-speares Sonnets. In the advertisement, he extolled the virtues of his undertaking, claiming that it was “somewhat extraordinary, that none of [Shakespeare’s] various editors should have ... taken the trouble to compare [his poetical works] with the earliest editions.” The idea of Malone as a great Sonnets hero, rescuing the 1609 quarto from oblivion by reprinting it first in his Supplement and then in his own edition, The Plays and Poems of Shakespeare (1790), has been largely accepted by modern critics. But although Malone was the first to publish an annotated text, he was not the first to appreciate the value of the quarto or to confer on it serious editorial attention. That individual, I will argue, was Edward Capell (1713–1781), Cambridge scholar, Deputy Inspector of Plays, and friend of David Garrick, who dedicated his life to the study of Shakespeare. Capell’s importance as an editor of Shakespeare’s plays had been underestimated by modern scholars until the work of Alice Walker and Hymen Harold Hart in the 1960s. According to Walker, Capell “revolutionized","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"72 1","pages":"52 - 78"},"PeriodicalIF":0.3,"publicationDate":"2022-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44623802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare and Queer Representation by Stephen Guy-Bray (review)","authors":"Christopher Yates","doi":"10.1093/sq/quac018","DOIUrl":"https://doi.org/10.1093/sq/quac018","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"72 1","pages":"159 - 161"},"PeriodicalIF":0.3,"publicationDate":"2022-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44945000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Prop Culture: The Shakespearean Clown and His Marotte","authors":"Nicole Sheriko","doi":"10.1093/sq/quac015","DOIUrl":"https://doi.org/10.1093/sq/quac015","url":null,"abstract":"THE EARLY MODERN CLOWN IS ALWAYS ALREADY MULTIPLE, carrying into performance his own puppet double: the fool’s bauble. This short staff topped with a carved likeness of its carrier is a kind of rod puppet—a marotte—who mirrors, extends, and constructs the clown as such. A portrait of the Stuart/ Caroline court fools Tom Derry and Muckle John makes this multiplicity especially clear (see figure 1). The painting’s title, Wee Three Loggerheads, and its grotesque imagery (note the fools’ facial expressions and the extra finger on Derry’s hand) place it firmly in the broader cultural tradition of depicting Folly. Images in this “we three” genre generally feature one fewer fool (here “loggerhead”) than the number in the label, implying that the viewer is the final fool. Here, Muckle John’s marotte might also be seen as the third fool (especially with its log head). We can read the marotte as a character in the picture, and therefore one of the “three” fools, or we can read it as merely an object held by one of the characters that identifies him as a fool. The marotte oscillates between character and object, and in so doing figures the viewer alternately as an external observer and an integral part of the folly being depicted. As a prop, the marotte is a practical performance tool, and Wee Three Loggerheads offers a portrait of performers as much as an allegorical representation of Folly in the world. Scholars of early modern performance have long neglected","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"72 1","pages":"126 - 149"},"PeriodicalIF":0.3,"publicationDate":"2022-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48272869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"This bastard graff shall never come to growth\": Conception and Consent in Shakespeare's Lucrece","authors":"Sarah S Keleher","doi":"10.1093/sq/quac014","DOIUrl":"https://doi.org/10.1093/sq/quac014","url":null,"abstract":"T ARQUIN WRONGED ME,” Lucrece states, “I Collatine” (819). 1 The first half of the statement comes as no surprise, but the second half is puzzling. In what way has Lucrece wronged Collatine by being raped? She has had extramarital sex, to be sure, but what blame can attach to her, given the constraints on her consent? It is the uncertain issue—in both senses of the word—of Lucrece’s consent that doubles the nature of the sexual offense, twinning it into two clauses: rape (“Tarquin wronged me”) and adultery (“I Collatine”). That doubling is not reducible to the internalized guilt of a rape victim. In early modern humanism, Lucretia was a defendant against charges of adultery in a perpetual rhetorical trial. She was a standard topic of humanist pro and contra debates that interpreted her motives for suicide through disputation of her chastity: “Shall we say she was an adulteresse, or was shee chast?” If we approach Shakespeare’s Lucrece with a certainty that the sexual offense at its heart is rape, we approach the poem anachronistically. The rape in Lucrece was always already a disputed","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"72 1","pages":"103 - 79"},"PeriodicalIF":0.3,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48509190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"A Strange, Hollow, and Confused Noise\": Prospero's \"Start\" and Early Modern Magical Practices","authors":"E. Tribble","doi":"10.1093/sq/quac016","DOIUrl":"https://doi.org/10.1093/sq/quac016","url":null,"abstract":"This essay has benefited from careful and patient feedback both from individual readers and from audiences who have heard earlier verisons. Debapriya Sarkar and Roslyn Knutson helped me to refine my arguments, and I am grateful to the anonymous peer reviewers at Shakespeare Quarterly for their helpful suggestions. Audiences at the seminar series of the English Department at the University of Connecticut, the Massachusetts Center for Renaissance Studies, and the Columbia Shakespeare Seminar provided incisive commentary that greatly improved the essay. Thanks also to the staff at the Folger Shakespeare Library for introducing me to the wonders of The Book of Magic. 1 The Tempest, 4.1.137, 138. Unless otherwise noted, all quotations from the play come from The Tempest, ed. Virginia Mason Vaughan and Alden T. Vaughan (London: Bloomsbury, 2011). 2 The Norton Facsimile of the First Folio of Shakespeare, prep. Charlton Hinman, rev. ed. (New York: W. W. Norton, 1996), TLN 1805–8.","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"72 1","pages":"229 - 253"},"PeriodicalIF":0.3,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45498325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"All the Sonnets of Shakespeare. Edited by Paul Edmondson and Stanley Wells","authors":"John S. Garrison","doi":"10.1093/sq/quac017","DOIUrl":"https://doi.org/10.1093/sq/quac017","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49611595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}