“Appendix: Census of English Chivalric Romances through 1616” compiles data on manuscripts, printings, entries, and adaptations of English chivalric romances from standard sources: Short-Title Catalogue, Annals of the English Drama 975-1700, and the Stationers’ Register, among others. Tabulations of the data through 1610 serve as the basis for t…[Read more]

Reflects all works cited or consulted in preparing this book. The disproportion between pre-1970 and post-1970 works reflects the greater and lesser relevance, respectively, of most work in the field of English chivalric romance to my thesis. Recent scholarship has approach the subject less from a literary and historical than from a political,…[Read more]

Reflects all works cited or consulted in preparing this book. The disproportion between pre-1970 and post-1970 works reflects the greater and lesser relevance, respectively, of most work in the field of English chivalric romance to my thesis. Recent scholarship has approach the subject less from a literary and historical than from a political,…[Read more]

Reflects all works cited or consulted in preparing this book. The disproportion between pre-1970 and post-1970 works reflects the greater and lesser relevance, respectively, of most work in the field of English chivalric romance to my thesis. Recent scholarship has approach the subject less from a literary and historical than from a political,…[Read more]

Begins with the textual crux–Q’s “you” and F’s “he”–in Iago’s question to Othello at III, iii, 96-7: “Did Michael Cassio/When [someone] woo’d my Lady, know of your love?” Q’s reading is unanimously but silently adopted by all modern editors of the play, who take F as their copy text, on the assumption that F’s reading makes no sense. Continues…[Read more]

This textual crux all modern editors unanimously and silently emend, from the Folio “he”, their copy text, to the Quarto “you.” Although they find F so nonsensical as to deserve no comment, Shakespeare, his company, and his audience found it not only sensible in a play involving jealousy, but also powerful. The difference between then and now…[Read more]

This textual crux all modern editors unanimously and silently emend, from the Folio “he”, their copy text, to the Quarto “you.” Although they find F so nonsensical as to deserve no comment, Shakespeare, his company, and his audience found it not only sensible in a play involving jealousy, but also powerful. The difference between then and now…[Read more]

This textual crux all modern editors unanimously and silently emend, from the Folio “he”, their copy text, to the Quarto “you.” Although they find F so nonsensical as to deserve no comment, Shakespeare, his company, and his audience found it not only sensible in a play involving jealousy, but also powerful. The difference between then and now…[Read more]

This textual crux all modern editors unanimously and silently emend, from the Folio “he”, their copy text, to the Quarto “you.” Although they find F so nonsensical as to deserve no comment, Shakespeare, his company, and his audience found it not only sensible in a play involving jealousy, but also powerful. The difference between then and now…[Read more]

Surveys the contemporary and modern designations of the genre of Shakespeare’s Troilus and Cressida. Considers the gothic, not the humanistic, character of chivalric romance and the range of chivalric romances both idealistic and satirical. Accepting the medieval treatment of The Iliad as chivalric in nature, views Shakespeare’s play as a com…[Read more]

Surveys the contemporary and modern designations of the genre of Shakespeare’s Troilus and Cressida. Considers the gothic, not the humanistic, character of chivalric romance and the range of chivalric romances both idealistic and satirical. Accepting the medieval treatment of The Iliad as chivalric in nature, views Shakespeare’s play as a com…[Read more]

Surveys the contemporary and modern designations of the genre of Shakespeare’s Troilus and Cressida. Considers the gothic, not the humanistic, character of chivalric romance and the range of chivalric romances both idealistic and satirical. Accepting the medieval treatment of The Iliad as chivalric in nature, views Shakespeare’s play as a com…[Read more]

Surveys the contemporary and modern designations of the genre of Shakespeare’s Troilus and Cressida. Considers the gothic, not the humanistic, character of chivalric romance and the range of chivalric romances both idealistic and satirical. Accepting the medieval treatment of The Iliad as chivalric in nature, views Shakespeare’s play as a com…[Read more]

Resolves the previously inconsistent or incomplete account of the watermarks in the “Sir Thomas More” ms, shows their distribution among the sheets of the original and the additional texts, and suggests a possible collation in the collaborative process of revision.