A SUBJECT INDEX to Articles, Review Articles, and Notes published in *CAHIERS ELISABETHAINS* Numbers 1-40 (1972-91) (compiled by Angela R. MAGUIN) The presentation of the entries is as follows: the subject- entries, sub-entries and sub-sub-entries with indentations, followed by the number of the issue and the first and last pages of the article or note. This document does *not* include the indexes to the authors, play reviews and book reviews, which are published every 10th issue, and which we hope may soon be available for SHAKSPEReans on the server, as questions concerning production-history often arise on the screen. All our thanks to Angela MAGUIN, who has faithfully compiled these indexes for us over twenty years. Editors and associate editors of any journal know the anxiety of compiling a usable index. Ours is not perfect, for none is, but it is representative of the great variety of the themes approached by our writers, and as they choose their own index-words, they have impressed their own stamp on the documentary instruments by which their work can be traced by the profession. The whole production of *Cahiers* is also indexed by the *Bibliography* issue of the *Shakespeare Quarterly*. The index was prepared for publication on SHAKSPER by Luc Borot. The entries are presented as follows: Entry Sub-entry Article N . Pages Absurdity Nashe s *The Anatomy of Absurditie* 37 17-26 Acedia and the Redcrosse Knight s encounter with Despair (Spenser s *FQ*, I, ix) 30 1-15 Acting Shakespearian a. today 20 83-94 truth, deception and a. in *The Alchemist* 23 61-71 *The Tempest on tour* 40 31-6 Adam (see Chester plays) 21 1-11 Adaptation the misadventures of *Julius C sar* under the Restoration 24 33-45 Adlington, William *The annotami (sic) of the Masse* 21 49-50 Aesthetics Leicester, Kenilworth, and transformations in the idea of magnificence 31 11-35 Alabaster, William Date of his death 18 71-2 Alienation Renaissance dramatic forms, cosmic perspective and a. 27 1-16 Allegory of digestion in *King Lear* 30 17-33 political a. in Greene s *The Scottish History of James IV* 35 27-45 in *Measure for Measure* 16 19-26 in F. Merbury s *The Marriage of Wit and Wisdom* 29 1- 11 Anagogy of Shakespeare s *Measure for Measure* 16 19-26 Anne of Denmark and Shakespeare s *Henry V* 29 77-81 Anthropology anthropological criticism 27 43-51 Antiquity the art of a. in works by Lyly and Shakespeare 24 3-15 Antisemitism 27 17-26 and *The Merchant of Venice* 34 53-60 Two Jonsonian Neologisms 38 65-8 Antonio use of the name in English Renaissance drama 25 61-72 Ape in English theatrical tradition, 1580-1660 35 1-13 Apuleius *Othello* and the *Apologia* of A. 21 27-33 Archeology a. of the dramatic text 32 13-35 Archetypes of horror and cruelty in Elizabethan revenge tragedy 19 9-25 Arden, John *Serjeant Musgrave s Dance, Shakespearian reminiscences in* 17 77-81 Arthuriana scholarship 10 33-43 see Malory Artifice and the birth of the Hobbesian Commonwealth 30 49-58 Ascham, Roger *The Scholemaster* (on Castiglione s *The Courtier*) 27 67-81 Astr a the cult of Elizabeth-Astr a and the anti-Catholic Jubilye of 1624 22 93-4 Atheism and *The Jew of Malta* 27 17-26 Auden, W.H. his assessment of *The Tempest* 11 73-83 Audience a. control by Richard III in Act I of the play 37 59-68 Elizabethan and Jacobean theatre audiences 34 11-24 hero as actor/a. in *Hamlet* 28 37-44 a. response (in *Hamlet*) 28 37-44 Shakespeare and his audiences 11 31-53 Autobiography *Parthenicon*: an autobiographical poem by Elizabeth Jane Weston 37 1-8 Bachelard, Gaston B. s analysis of the imaginary and Herrick s *Hesperides* 32 37-48 Barabas (Marlowe s character) *The Jew of Malta*: Marlowe s ideological stance and the play world s ethos 27 17-26 Machiavellian diplomacy and dramatic developments in Marlowe s *Jew* 33 1-11 Baroque the B. image: a close analysis of the end of Milton s *Comus* 40 53-62 B. sensibility in Middleton s *The Changeling* 25 73-86 the B. and mannerism in Andrew Marvell s poems 17 59-70 Barton, John and play openings 33 47-51 Bible, The the B. and Chapman s *Ovids Banquet of Sence* 31 37-43 the biblical model for Renaissance homosexuality 36 11- 24 the B. and black magic in *Macbeth* 35 59-84 Book of Proverbs the B. and F. Merbury s *The Marriage of Wit and Wisdom* 29 1-11 G. Gascoigne s and Mary Sidney s versions of Psalm 130 36 1-9 2 Samuel 11: David s meeting with Bathsheba 31 37-43 Song of Songs and the anagogy of Shakespeare s *Measure for Measure* 16 19-26 Biography Gabriel Harvey and Spenser 31 59-61 Bishops and Robin Hood 22 87-91 foxes and wolves in episcopal propaganda 29 83-6 Blazoning b. in *The Faerie Queene* 23 1-14 Blood heart and b. in * Tis Pity She s a Whore* 31 45-57 Bogdanov, Michael The Pragmatics of Politics: Casting in *Henry IV* and* Henry V* 38 9-24 Bradbrook, Muriel C. scholarship on Elizabethan drama 19 91-6 Browne, Thomas *Religio Medici*, imagery in 18 53-68 Bruno, Giordano *Cantus Circaeus* , *De gl heroici furori*, mnemonics and the magical art of composition 20 3-10 Buffone, Carlo Two Jonsonian Neologisms 38 65-8 Bunyan, John *The Pilgrim s Progress*, the impress of ideology 7 3- 25 Cade, Jack in Shakespeare s *2 Henry VI* 33 13-22 Calendar (comparative) folk customs and festivities in Elizabethan England 8 5-13 Calenture cause of Falstaff s death? 27 83 Cannibalism c. in Shakespeare s imagery 19 27-37 and black magic in *Macbeth* 35 59-84 Capgrave, John *Nova legenda Anglie* 21 50-2 Captain Jamy in Shakespeare s *Henry V* 29 77-81 Carew, Richard translator of *Gerusalemme Liberata* 13 1-13 Carnival c. and Shakespeare s *2 Henry VI* 33 13-22 c. and *The Merry Wives of Windsor* 27 27-41 c. and *Othello* 32 13-35 c. in *Othello* 33 57-8 Caskets Interpreting *The Merchant of Venice* 39 1-16 Castiglione, Baldassare *The Courtier*, tr. by Thomas Hoby 27 67-81 Casting The Pragmatics of Politics: Casting in *Henry IV* and *Henry V* 38 9-24 Catholicism the anti-Catholic Jubilye of 1624 22 93-4 Catholic plots in the sixteenth century 35 27-45 Cavalier c. poetry and Herrick s Upon Julia s Clothes 28 73-6 Chamberlain, John his letters and Shakespeare s *Henry V* 29 77-81 Chapman, George *Bussy d Ambois*, date of composition 26 79-80 C. s Homer, some variations on a theme of 26 79-80 *An Humourous Day s Mirth* 32 3-11 *Ovids Banquet of Sence* 31 37-43 Character character type in drama 27 47-51 tyrant duke as stock c. in *As You Like It* 34 39-51 death, power, and representation in *Tamburlaine the Great* 40 1-10 Character Relationships the confined world of *The Changeling* 39 47-55 Characterization c. in Drayton s *Englands Heroicall Epistles* 33 31-45 Lear and Cordelia 40 11-20 c. and rhetoric: Shakespeare s *Julius C sar*, III.2 5 25-65 Charivari c. and *The Merry Wives of Windsor* 27 27-41 c. and *Othello* 32 13-35 Chastity and Desdemona 34 79-82 Chaucer, Geoffrey *Canterbury Tales*, semantic field of eroticism 1 3-24 *Troilus and Criseyde*, the love plot and Sh. s *Troilus and Cressida* 11 1-15 Chester Plays Adam s Dream and the first three Chester Plays. 21 1-11 Chester Mystery Cycle at Chester Cathedral, July 1987 34 1-9 Cicero *De Amicitia* and Richard Edwards *Damon and Pithias* 30 71-2 Circle c., sword, and the futile quest in Webster s *Duchess of Malfi* 27 53-66 Cirrhosis c. and the death of Falstaff 33 53-5 see Dekker, Thomas Citizen Drama That day are you free : *The Shoemakers Holiday* 38 49-60 Class c. consciousness and Shakespeare s *2 Henry VI* 33 13- 22 Classicism *Antony and Cleopatra*: an Ovidian Tragedy? 40 73-7 Cleland, James *Institution of a Young Noble Man* 27 67-81 Cleopatra Shakespeare s C. and Milton s Dalila 12 69-70 Colonna, Francesco, *Hypnerotomachia*, Tudor translation of 15 1-16 Comedy love letters in romance and c.: rise and fall of an Elizabethan fashion 30 35-47 trickster play as sub-genre 27 43-51 the c. of violence (cf Nashe s *The Unfortunate Traveller*) 8 15-29 Commonwealth birth of the Hobbesian c.: the seat of artifice 30 49- 58 Comparative Literature comparisons of G. Gascoigne s and Mary Sidney s versions of Psalm 130 36 1-9 Confinement the confined world of *The Changeling* 39 47-55 Contract social c.: the Hobbesian Commonwealth 30 49-58 Corrozet, Gilles *Hecatomgraphie* influence of *H.* on dumb shows in *Gorboduc*? 29 39-51 Court Theatre and the vogue of the ape in drama 34 1-13 Courtier the c. as trickster in *The Duke of Milan* 23 73-82 poetic decorum and the c. s interest in Spenser s *Amoretti* 25 9-21 Cowley, Abraham *Davideis* and C. s eroticizations of biblical David 36 11-24 Cries London and country 8 31-63 *Cruell Warre, The* a critical edn. with a facsimile 14 49-68 a date and a new crux 20 93-4 a parody of Shirley s *Triumph of Peace* 15 77-80 a parody of Shirley s *Triumph of Peace* 17 43-57 Cruelty archetypes of horror and c. in Elizabethan revenge tragedy 19 9-25 horror and cruelty in three Elizabethan novelists 19 39-51 mental cruelty in Fletcher s *The Little French Lawyer* 22 35-9 Crux <> (Shakespeare s *Henry V*) 33 53-5 II.3.40-2: a crux in *Measure for Measure* 37 69-7 *The Cruell Warre*: a date and a new crux 20 93-4 Culture nature and c. in * Tis Pity She s a Whore* 31 45-57 Damport, Rafe Shore s Wife and *The Shoemakers Holiday* 39 17-28 Dance in *As You Like It* and *Twelfth Night* 13 25-34 Davenant, Sir William *The Law Against Lovers*, the problems of adaptation 16 27-43 David Cowley s and Drayton s eroticizations of biblical David 36 11-24 Deadly Sins of the tyrant duke of *As You Like It* 34 39-51 Death d. and rebirth in *Macbeth and *Winter s Tale* 21 35-48 d. and resurrection (folk customs in *Merry Wives*) 27 27-41 petrification and the living dead in Vaughan s *Silex Scintillans* 25 87-109 d., power, and representation in *Tamburlaine the Great* 40 1-10 Deception truth, d. and acting in *The Alchemist* 23 61-71 misconstruction in Shakespeare s *1 Henry VI* 37 43-57 Decorum poetic d. in Spenser s *Amoretti* 25 9-21 and transformations in the idea of magnificence 31 11- 35 Dekker, Thomas *The Shoemakers Holiday* That day are you free 38 49-60 Shore s Wife and *The Shoemakers Holiday* 39 17-28 Despair the Redcrosse Knight s encounter with Despair (Spenser s *FQ*, I, ix) 30 1-15 Dialogism d. and Shakespeare s *2 Henry VI* 33 13-22 Dialogues English political (1641-51) 14 49-68 Disease d. and magic in *Macbeth* 35 59-84 Divine Grace the Baroque image: a close analysis of the end of Milton s *Comus* 40 53-62 Donatello eroticizations of biblical David in Cowley s *Davideis* 36 11-24 Donne, John Farewell to Love , French verse translation with commentary 13 35-9 Doubling The Pragmatics of Politics: Casting in *Henry IV* and *Henry V* 38 9-2 Dramatic Technique *Antony and Cleopatra*: an Ovidian Tragedy? 40 73-7 Drayton, Michael *Englands Heroicall Epistles* 33 31-45 David and Goliah and D. s eroticizations of biblical David 36 11-24 Dream Adam s Dream and the first three Chester plays 21 1-11 the d. vision and *Hamlet* 35 15-25 Dryden, John *All for Love* 36 49-71 *King Arthur* rhythm and prosody of seven songs: the collaboration with Purcell 30 59-70 an echo of Lewis Maidwell in D. s translation of Juvenal, Satire VI 31 63-4 Dudley, Robert (Earl of Leicester) and Kenilworth 31 11-35 Dumb show emblems and stage tableaux compared 29 39-51 influence on d. shows in *Gorboduc* of G. Corrozet s *Hecatomgraphie*? 29 39-51 Durand, Gilbert D. s theory of the imaginary and Herrick s *Hesperides* 32 37-48 Edition editing of *The Shrew* 27 101-05 editing of the Oxford Shakespeare 35 103-15 eighteenth century critical e. of Shakespeare s text 33 23-30 Editorial Policy editorial greed in Shakespeare s play texts 34 25-38 see Emendation; Johnson, Dr Edwards, Richard *Damon and Pithias* Damon s speech on friendship and Plutarch s *Lives* 30 71-2 Elizabeth I the cult of Elizabeth-Astr a 22 93-4 and James IV of Scotland 35 27-45 and the Earl of Leister and Kenilworth 31 11-35 and negroes 19 1-7 Emblem e. strategies of meaning compared with stage strategies 29 39-51 and F. Merbury s *The Marriage of Wit and Wisdom* 29 1- 11 Interpreting *The Merchant of Venice* 39 1-16 Emendation Dr Johnson s e. of Shakespeare s text 33 23-30 Enigma in emblems and stage craft 29 39-51 English Political Philosophy Hobbes and the Covenant 30 49-58 Hobbes, Harrington, and the concept of liberty 32 49-67 English Shakespeare Company the pragmatics of politics: casting in *Henry IV* and *Henry V* 38 9-24 Epideictic Elizabethan e. drama: the plays of Peele and Lyly 23 15-33 Epistles Drayton s *Englands Heroicall Epistles* 33 31-45 Eroticism in Chapman s *Ovids Banquet of Sence*: 2 Samuel 11 31 37-43 eroticizations of Biblical David 36 11-24 Ethics Machiavellianism of Prince Hal in *1 Henry IV* 37 43-57 Machiavellian diplomacy and Marlowe s *Jew of Malta* 33 1-11 Machiavellianism in *Macbeth* 14 9-22 Elizabethan e.: *Macbeth*, or the symbol of ineluctability 38 41-8 Etymology two Jonsonian neologisms 38 65-8 Euphuism and love letters in romance and comedy: an Elizabethan fashion 30 35-47 Eve in Milton 24 61-72 Exegesis interpreting *The Merchant of Venice* 39 1-16 Explication Dr Johnson s emendation of Shakespeare s text 33 23-30 Eyre, Simon Shore s Wife and *The Shoemakers Holiday* 39 17-28 Falstaff ritual and folk custom in *The Merry Wives of Windsor* 27 27-41 death of 27 83 death of 33 53-5 Farce two Jonsonian neologisms 38 65-8 Farquhar, George love and madness in *The Recruiting Officer* and other plays 27 85-7 Fashion love letters in romance and comedy: rise and fall of an Elizabethan f. 30 35-47 Feminist Criticism *A Chaste Maid in Cheapside* and *Women Beware Women*: feminism, anti-feminism, and the limitations of satire 39 29-39 Fertility folk customs in *The Merry Wives* 27 27-41 Festival That day are you free : *The Shoemakers Holiday* 38 49-60 Festivities and folk customs 6 8-14 and folk customs 8 5-13 folk f. and Ovidian transformations in *Midsummer Night's Dream*,* Merry Wives*, and *As You Like It* 25 23-36 Fiction an experience on the discourse of f.: Joseph Hall s *Mundus Alter et Idem* 23 83-92 Fisher King myth of the F.K. and *Richard II* 30 75-8 Fletcher, John *The Little French Lawyer*, mental cruelty in 22 35-39 Folklore festivities and folk customs 6 8-14 festivities and folk customs 8 5-13 pagan ritual, Christian liturgy, and folk customs in *Winter s Tale* 22 25-33 ritual and folk customs in *Merry Wives of Windsor* 27 27-41 Fool fools and madmen in English Renaissance drama 34 11-24 Ford, John *Perkin Warbeck* in performance 8 65-74 * Tis Pity She s a Whore* 3 16-40 Annabella s unborn baby 15 35-41 nature and culture in 31 45-57 and *Romeo and Juliet* 20 49-70 Form Renaissance dramatic forms, cosmic perspective and alienation 27 1-16 scenic f. in *Hamlet* 28 37-44 Fox f. image and episcopal propaganda 29 83-6 Gadshill G. s question in *1 Henry IV* 23 99-103 Garden Where thou doost live, there let all graces be : images of the Renaissance woman patron in her house and rural domain 40 37-51 Garnier, Robert *Cornelie* and Catholic censorship 1 25-40 Gascoigne, George version of Psalm 130 36 1-9 Genre Criticism and Shakespeare s *Timon of Athens* 34 61-78 Gerontology Middleton s Cleanthes and Renaissance g. 39 41-6 Ghosts in Elizabethan drama 1 25-40 the speaking ghost 35 15-25 Globe Theatre and Shakespeare s *Henry V* 29 77-81 Googe, Barnabe and the Sixth Eclogue of Baptista Mantuan 25 1-8 Gosson, Stephen *Playes Confuted in Five Actions* 2 24-54 Greene, Robert Cony-Catching Pamphlets: *The Blacke Bookes Messenger* and *The Defence of Cony-Catching* 37 9-15 horror and cruelty in G. s novels 19 39-51 later prose romances 24 3-15 *The Scottish History of James IV*: historical background 35 27-45 Hall, Joseph *Mundus Alter et Idem* and the discourse of fiction 23 83-92 source for Slawkenbergius in Sterne s *Tristram Shandy* 30 79-80 Hammon, Master Shore s wife and *The Shoemakers Holiday* 39 17-28 Hands, Terry T.H. and play openings 33 47-51 Harrington, James Hobbes, Harrington, and the concept of liberty 32 49-67 Harvey, Gabriel G.H. s correspondence with Spenser 31 59-61 Healing h. of evil in his subjects by saintly king 35 59-84 Heart h. and blood: nature and culture in * Tis Pity She s a Whore* 31 45-57 Henry VIII in Shakespeare s play and S. Rowley s *When You See Me You Know Me* 23 47-59 Heraldry blazonings in *The Faerie Queene* 23 1-14 Herbert, George and scholarship 18 29-41 Hermetic Persona trickster Lemot in Chapman s *An Humourous Day s Mirth* 32 3-11 Herrick, Robert Upon Julia s Clothes : source and imagery 28 73-6 *The Hesperides* 32 37-48 Heywood, Thomas *A Woman Killed with Kindness* textual problems 30 117-23 *The Four Prentices of London* and Marlowe s *Tamburlaine the Great* 32 75-8 Historical Criticism Death or Liberty : the fashion in shrouds 38 25-40 a play of textual inscriptions and proper nouns 38 1-8 Historical Drama Robert Greene s *The Scottish History of James IV* 35 27-45 Historiography h. and Shakespeare s *2 Henry VI* 33 13-22 History myth and h. in Shakespeare s *King Lear* 30 17-33 History of Ideas Leicester, Kenilworth, and transformations in the idea of magnificence 31 11-35 causation in Shakespeare s Histories 36 25-35 Hobbes, Thomas *Leviathan* birth of the Hobbesian Commonwealth, the seat of artifice 30 49-58 H., Harrington, and the concept of liberty 32 49-67 Hobgoblin Gabriel Harvey s correspondence with Spenser 31 59-61 Hoby, Thomas translator of *The Courtier* 27 67-81 Holocaust holocaustic impulses in *King Lear* 30 17-33 Homoeroticism eroticizations of biblical David 36 11-24 Horror archetypes of h. and cruelty in Elizabethan revenge tragedy 19 9-25 h. and cruelty in three Elizabethan novelists 19 39-51 in Elizabethan tragedy 10 1-12 Household Where thou doost live, there let all graces be : images of the Renaissance woman patron in her house and rural domain 40 37-51 Howell, James *Epistolae Ho-Elianae* 24 47-59 Humanism Eutopians as Christian Humanists in More s *Utopia* 28 17-22 F. Merbury s *The Marriage of Wit and Wisdom* as a humanist allegory 29 1-11 Humours melancholy, sight and vision in *The Winter s Tale* 23 35-46 Hythlodaeus his discourse in More s *Utopia* 28 23-35 Iconography of the ape in English theatrical tradition, 1580-1660 35 1-13 Iconology interpreting *The Merchant of Venice* 39 1-16 Ideology i. and discrimination in *The Jew of Malta* 27 17-26 i. and More s *Utopia* 28 17-22 i. and play structure in *The Jew of Malta* 33 1-11 Imagery cannibalism in Shakespeare s imagery 19 27-37 dramatic i.: classification 9 9-28 i. in Drayton s *Englands Heroicall Epistles* 33 31-45 fox and wolf i. and episcopal propaganda 29 83-6 religious, sexual, and oriental in Herrick s Upon Julia s Clothes 28 73-6 image cluster and the influence of Petrarch s *Canzoniere* (II) on Marlowe 29 13-25 science and imagination 36 49-71 sickness i. in *Hamlet* 24 27-32 *Macbeth*, or the symbol of ineluctability 38 41-8 in Shakespeare s *Venus and Adonis* 36 37-4 mythic i. of infinity in Traherne s poetry 28 61-71 death, power, and representation in *Tamburlaine the Great* 40 1-10 image patterns (inc. stage i.) in Webster s *Duchess of Malfi* 27 53-66 images of water in Milton 15 43-55 Where thou doost live, there let all graces be : images of the Renaissance woman patron in her house and rural domain 40 37-51 Imitation of Shakespeare by Dryden in *All for Love* 36 49-71 Indian Indian moors and *Dr Faustus* 23 93-7 Infinity concept of i. and mannerism 28 61-71 Intellectual background Middleton s Cleanthes and Renaissance gerontology 39 41-6 Interludes F. Merbury s *The Marriage of Wit and Wisdom* 29 1-11 and the diversity of Morality plays 28 3-15 Intimism i. in Robert Herrick s *The Hesperides* 32 37-48 Intrigue origins of i. comedy: trickster play as sub-genre 27 43-51 Ireland Irish Wars and Shakespeare s *Henry V* 29 77-81 Irony cosmic i. in Medieval tragicomedy 18 3-10 i. in Drayton s *Englands Heroicall Epistles* 33 31-45 Italianate Thomas Hoby and the I. Englishman 27 67-81 James Stuart, Earl of Arran and Robert Greene s *The Scottish History of James IV* 35 27-45 Jeffere, John *The Bugbears*, songs in 21 13-26 Johnson, Dr editor of Shakespeare s text 33 23-30 Jones, Richard Isabella Whitney and the Popular Miscellanies of R.J. 19 85-7 Jonson, Ben *The Alchemist* truth, deception and acting in 23 61-71 *Every Man Out of His Humour* two Jonsonian neologisms 38 65-8 *Hymenaei* *H.* and *The Tempest* 26 29-39 *The Poetaster* influence of Chapman s Homer on 26 79-80 *Volpone* the progress of trickster in 27 43-51 Judaism Reformation and the decline of anti-Judaism 26 3-13 Justice interpreting *The Merchant of Venice* 39 1-16 Juvenal Dryden s translation of J. s Satire VI 31 63-4 Kate K. s kiss source in Shakespeare s *Henry V* 29 77-81 Kelley, Edward father of Elizabeth Jane Weston (Westonia) 37 1-8 Kenilworth The Earl of Leicester and K. and Queen Elizabeth 31 11- 35 King Arthur see Prose; Arthuriana; Malory King Edward IV Shore s Wife and *The Shoemakers Holiday* 39 17-28 King Ponthus see Prose Kingship exploration of problem of k. in Shakespeare s *1 Henry VI* 37 43-57 Knight, William on John Capgrave s *Nova Legenda Anglie* 21 50-2 Kyd, Thomas *Cornelia* 1 25-40 *The Spanish Tragedy* antisocial behaviour and the code of love 17 1-9 Lavater, Ludwig *Of Ghosts and Spirits walking by Nyght...* 1 25-40 Law and the Shakespeare family 17 21-41 Leicester, The Earl of (see Robert Dudley) Letter freeing of the familiar letter in James Howell s *Epistolae Ho- Elianae* 24 47-59 love letters in romance and comedy: rise and fall of an Elizabethan fashion 30 35-47 verse l. characterisation in Drayton s *Englands Heroicall Epistles* 33 31-45 prefatory letters and verses in More s *Utopia* 28 17- 22 Liberty Hobbes, Harrington, and the concept of liberty 32 49-67 Liturgy pagan ritual, Christian l., and folk customs in *The Winter s Tale* 22 25-33 Locus, see Place Lodge, Thomas Elizabethan Pioneer 3 5-15 horror and cruelty in L. s novels 19 39-51 Now and Then 34 107-11 plays 4 3-14 Truths Complaint over England 8 76-8 *Wounds of Civil War* and Otway s *Caius Marius* 6 3-7 Love l. and madness in works of Shakespeare and others 27 85-7 l. letters in romance and comedy: rise and fall of an Elizabethan fashion 30 35-47 Lucy, Countess of Bedford Where thou doost live, there let all graces be : images of the Renaissance woman patron in her house and rural domain 40 37-51 Lyly, John the art of antiquity in works by Lyly and Shakespeare 24 3-15 praise and blame in the plays of Peele and L. 23 15-33 *Campaspe* a brave new world? 15 17-28 *Gallathea* the songs 30 73-5 Macabre m. in Elizabethan tragedy 10 1-12 Machiavelli Machiavellianism of Prince Hal in *1 Henry IV* 37 43-57 Machiavellian diplomacy and Marlowe s *Jew of Malta* 33 1-11 Machiavellianism in *Macbeth* 14 9-22 Madness love and m. in works of Shakespeare and others 27 85-7 m. as a system in English Renaissance drama 34 11-24 Maidwell, Lewis an echo of L.M. in Dryden s translation of Juvenal, Satire VI 31 63-4 Magic m. ending (Milton s *Comus*) 40 53-62 m. in *Macbeth* 35 59-84 Malcontent transition from the melancholic to the m. in English Renaissance drama 34 11-24 Malory, Sir Thomas critical survey of criticism 28 103-11 see Arthuriana Mannerism and concept of infinity in Traherne s poetry 28 61-71 Mantuan, Baptista the Sixth Eclogue and Barnabe Googe 25 1-8 Map Lear s map 30 17-33 Margaret, Countess of Cumberland Where thou doost live, there let all graces be : images of the Renaissance woman patron in her house and rural domain 40 37-51 Marlowe, Christopher influence on M. of the Sonnets in Petrarch s *Il Canzoniere* (Part II) 29 13-25 *Doctor Faustus* dramatic form, cosmic perspective and alienation 27 1-16 one drop of Christ s streaming blood: a gloss 17 85-7 and Indian moors 23 93-7 its influence on the later Shakespeare 29 27-37 Mars and the Carthaginians (Prologue, line 2) 38 41-8 spectacle in 17 83-4 *The Jew of Malta* ideological stance and the play world s ethos 27 17-26 the ritual of the inverted moral order 12 45-58 Machiavellian diplomacy and dramatic developments 33 1-11 *Tamburlaine the Great* and T. Heywood s *The Four Prentices of London* 32 75-8 death, power, and representation in *Tamburlaine the Great* 40 1-10 on the modern stage 13 53-9 Marriage Utopian views on m. in Shakespeare 32 69-73 Marston, John *The Dutch Courtesan* morality types in *All s Well* and 25 53-9 Marvell, Andrew the Baroque and mannerism in the poems 17 59-70 and Milton 15 73-4 poetry: the Garden of Eden 10 13-32 Bermudas and a London neighbourhood 15 75 To His Coy Mistress , French verse translation 3 2-4 The Garden , Platonism in 17 71-5 Mary, Countess of Pembroke Where thou doost live, there let all graces be : images of the Renaissance woman patron in her house and rural domain 40 37-51 Masque symbolism of Ariel s m. in *The Tempest* 19 53-71 m. and *Othello* 33 57-58 Massinger, Philip *The Duke of Milan*, the courtier as trickster in 23 73-82 Maying That day are you free : *The Shoemakers Holiday* 38 49-60 Medicine of humours and *Othello* 32 13-35 medical theories, sight and vision in *Winter s Tale* 23 35-46 sickness and physic in plays by Middleton and Webster 26 41-78 Medieval Drama/Plays (see Mysteries) Melancholy relationship between the melancholic and the fool in English Renaissance drama 34 11-24 m., sight and vision in *The Winter s Tale* 23 35-46 m. and the Redcrosse Knight s encounter with Despair (Sp. s *FQ*, I, ix) 30 1-15 Melodrama m. in Webster s *The Duchess of Malfi* 27 53-66 Melusine see Prose Melville, Herman *Moby-Dick*, Shakespeare s influence on 13 41-8 Mendes, Sam Scrutiny of a Mask: a detailed account of Shakespeare s *Troilus and Cressida* as staged and performed by the RSC at the Swan Theatre, Stratford-upon-Avon, 23 April 1990 39 57-70 Merbury, Francis *The Marriage of Wit and Wisdom* how to understand a parable 29 1-11 Metadrama Hamlet: man of the theatre 28 37-44 Metamorphosis Ovidian transformations and folk festivities in *Midsummer Night s Dream*, *Merry Wives of Windsor*, and *As You Like It* 25 23-36 Metaphor in Chapman s *An Humourous Day s Mirth* 32 3-11 the metaphorical fallacy: the sickness imagery in *Hamlet* 24 27-32 the garden m. in *Richard II* and Thomas Lodge 8 76-8 Michelangelo eroticizations of biblical David 36 11-24 Middleton, Thomas sickness and physic in plays by M. and Webster 26 41-78 *The Changeling* Baroque sensibility in 25 73-86 the confined world of *The Changeling* 39 47-55 M. s Cleanthes and Renaissance gerontology 39 41-6 *A Chaste Maid in Cheapside* and *Women Beware Women* feminism, anti-feminism, and the limitations of satire 39 29-39 Milk and magic in *Macbeth* 35 59-84 Milton, John Eve 24 61-72 images of water 15 43-55 and Marvell 15 73-4 *Areopagitica* images 6 23-37 *Comus* the Baroque image: a close analysis of the end of Milton s *C.* 40 53-62 dramatic form, cosmic perspective and alienation 27 1-16 the marvellous in 22 41-49 myth and myths 5 3-24 and Vanbrugh s *The Provoked Wife* 19 89 *Lycidas* poem and pattern 14 23-37 French verse translation 2 5-11 *Paradise Lost* the marvellous in 22 41-9 spatial and temporal variety 8 75 topothesias in 16 45-58 *Samson Agonistes* (68-109): the essential in M.s imaginary universe 11 63-71 Shakespeare s Cleopatra and M. s Dalila 12 69-70 and the world picture 14 39-48 Sonnets The S. and minor poems: the images of woman 18 43- 52 Mimesis the mimetic mode of F. Merbury s *The Marriage of Wit and Wisdom* 29 1-11 in Shakespeare s *Venus and Adonis* 36 37-47 Misreading of Lemot in Chapman s *An Humourous Day s Mirth* 32 3- 11 Mnemonics m. and Giordano Bruno s magical art of composition 20 3-10 Moor Indian moors and *Dr Faustus* 23 93-7 moors and *Othello* 33 57-8 Morality diversity of M. plays 28 3-15 M. types in *All s Well* and Marston s *The Dutch Courtesan* 25 53-9 M. plays as the origin of the Redcrosse Knight s encounter with Despair (Spenser s *FQ*, I, ix) 30 1-15 16th-century m. play methods and Acts I-III of Shakespeare s *Timon of Athens* 34 61-78 More, Sir Thomas *Utopia* narrative voices in 28 23-35 prefatory letters and verses 28 17-22 Morris Dance and *Othello* 33 57-8 Motifs as defining Morality plays? 28 3-15 Mummers Plays ritual and folk custom in *The Merry Wives of Windsor* 27 27-41 Munday, Anthony *Zelauto*, form and function 18 11-15 Murder Political Death or Liberty : the fashion in shrouds [in *Julius Caesar*] 38 25-40 Music and Elizabethan life (Cries) 8 31-63 and drama (songs in Lyly s plays) 30 73-5 and poetry: seven songs from Purcell s *King Arthur*; the collaboration with Dryden 30 59-70 Mysteries and the diversity of Morality plays 28 3-15 Chester Mystery Cycle at Chester Cathedral, July 1987 34 1-9 contrasted approaches to medieval drama 34 1-9 post-war revivals of medieval drama 34 1-9 York Mystery Cycle in performance 13 49-52 see Chester Plays Myth and *As You Like It* in performance 18 73-8 and criticism 32 3-11 of the Fisher King and *Richard II* 30 75-8 and history in Shakespeare s *King Lear* 30 17-33 and imagination: Milton s images of water 15 43-55 and magic in *Macbeth* 35 59-84 in *Midsummer Night s Dream* 18 17-27 Ovidian mythological tradition in Chapman s *Ovids Banquet of Sence* 31 37-43 mythemes and Traherne s poetry 28 61-7 Tudor m., its defence by Richard White of Basingstoke 11 17-29 m. and the sheep-shearing scenes in *The Winter s Tale* 6 8-14 Names, see Onomastics Narrative n. structure in More s *Utopia* 28 23-35 n. voices in More s *Utopia* 28 23-35 in Shakespeare s *Venus and Adonis* 36 37-47 Nashe, Thomas horror and cruelty in N.s novels 19 39-51 the satirical stance 9 1-7 *The Anatomy of Absurditie* a social pamphlet and a personal plea 37 17-26 *Nashes Lenten Stuffe* relevance of the author s name 24 73-4 *The Unfortunate Traveller* the comedy of violence 8 15-29 Nature and artifice: the Hobbesian Commonwealth 30 49-58 and culture in * Tis Pity She s a Whore* 31 45-57 in Shakespeare s *Venus and Adonis* 36 37-47 Negroes Elizabeth I and n. 19 1-7 Neologisms two Jonsonian neologisms 38 65-8 Newton, Sir Isaac N. s maths of infinity as parallel to myth of man s infinite capacity in Traherne s poetry 28 61-71 Noah and Shakespeare s *King Lear* 30 17-33 Noble, Adrian and play openings 33 47-51 North, Thomas North s Plutarch and Shakespeare s *Henry V* 4 15-49 Norton, Thomas and Sackville, Thomas *Gorboduc* sources of the dumb shows 29 39-51 Old Age in Literature Middleton s Cleanthes and Renaissance gerontology 39 41-6 Onomastics use of the name Antonio in English Renaissance drama 25 61-72 in Chapman s *An Humourous Day s Mirth* 32 3-11 Openings play o. (Shakespeare) 33 47-51 Opera semi-opera and Purcell s *King Arthur* 30 59-70 Otway, Thomas *History and Fall of Caius Marius* 6 3-7 Ovid *Antony and Cleopatra*: an Ovidian Tragedy? 40 73-7 Chapman s *Ovids Banquet of Sence* 31 37-43 Ovidian transformations and folk festivities in *A Midsummer Night's Dream*, *The Merry Wives of Windsor*, and *As You Like It* 25 23-36 Pamphlets Greene s Cony-Catching Pamphlets 37 9-15 Pastoral erotic p. 36 11-24 myth and the sheep-shearing scenes in *The Winter s Tale* 6 8-14 and Purcell s *King Arthur* 30 59-70 Patronage Where thou doost live, there let all graces be : images of the Renaissance woman patron in her house and rural domain 40 37-51 Peele, George and Chapman s *Ovids Banquet of Sence* 31 37-43 *The Love of King David and Fair Bethsabe* 31 37-43 praise and blame in the plays of P. and Lyly 23 15-33 Performance Criticism the pragmatics of politics: casting in *Henry IV* and *Henry V* 38 9-24 *The Tempest* on tour 40 31-6 Petrarch influence of P. s *Il Canzoniere* (Part II) on Marlowe s *Dr Faustus* 29 13-25 Petrification p. and the living dead in Vaughan s *Silex Scintillans* 25 87-109 Phenomenology (as defined by Mircea Eliade) applied to study of Renaissance plays 27 1-16 Philosophical methodology Hobbes, Harrington, and the concept of liberty 32 49-67 Place and Lear s map in *King Lear* 30 17-33 time and space data in *Antony and Cleopatra* 13 61-8 Platonism the Baroque image: a close analysis of the end of Milton s *Comus* 40 53-62 Play-within-a-play Hamlet: man of the theatre 28 37-44 Pleasure p. principle and More s *Utopia* 28 17-22 Plutarch *Lives* source of Damon s speech on friendship in R. Edwards *Damon and Pithias* 30 71-2 Shakespeare s use of North s P. in *Julius Caesar* (a catalogue) 4 15-49 Death or Liberty : the fashion in shrouds [in *Julius Caesar*] 38 25-40 Poetics *Macbeth*, or the symbol of ineluctability 38 41-8 Polemics a note on two Protestant verse p. 21 49-53 Politics myth and political didacticism in *Richard II* 30 75-8 Henry s politics of non-responsibility in *Henry V* 17 11-20 *Antony and Cleopatra*: an Ovidian Tragedy? 40 73-7 Renaissance political theory and Marlowe s *Jew of Malta* 33 1-11 Popular p. theatre: *The Jew of Malta* 27 17-26 p. traditions: *Othello* 32 13-35 p. traditions: *Othello* 33 57-8 p. drama: That day are you free : *The Shoemakers Holiday* 38 49-60 Populism p. and Shakespeare s *2 Henry VI* 33 13-22 Pound of flesh interpreting *The Merchant of Venice* 39 1-16 Power death, power, and representation in *Tamburlaine the Great* 40 1-10 Presbyterianism and Robert Greene s *The Scottish History of James IV* 35 27-45 Private theatre and the vogue of the ape in drama 34 1-13 Propaganda Robin Hood and the Elizabethans (a propagandist note) 22 87- 91 and episcopal p. 29 83-6 Prose p. romances, pre-Elizabethan 12 1-20 the first Elizabethan p. romance: Whetstone s Rinaldo and Giletta 14 3-8 Prose Style two Jonsonian neologisms 38 65-8 Prosody p. and rhythm in seven songs from Purcell s *King Arthur*: the collaboration with Dryden 30 59-70 Protestant a note on two P. verse polemics 21 49-53 Thomas Hoby, a P. traveller 27 67-81 Psychoanalysis Macbeth s rejection of father figure and fear of castration 35 47-58 Psychology Shakespeare s *Titus Andronicus*: an experiment in expression 31 1-9 Psychological Realism *A Chaste Maid in Cheapside* and *Women Beware Women*: feminism, anti-feminism, and the limitations of satire 39 29-39 Puer Senex Middleton s Cleanthes and Renaissance gerontology 39 41-6 Puns some Shakespearian p. and their implications 22 15-24 Purcell, Henry *King Arthur* rhythm and prosody of the songs: the collaboration with Dryden 30 59-70 Puritanism and the stage 2 12-22 literary opposition to Puritan call for episcopal reform 29 83-6 Puritan revolution: Hobbes, Harrington, and the concept of liberty 32 49-67 Queen Elizabeth (see Elizabeth I) Quest circle, sword, and the futile q. in Webster s *Duchess of Malfi* 27 53-66 Rabelais and*Othello* 32 13-35 Racism in *The Jew of Malta* 27 17-26 Rebellion r. and Shakespeare s *2 Henry VI* 33 13-22 Rebirth death and rebirth in *Macbeth* and *The Winter s Tale* 21 35-48 Reformation and the decline of anti-Judaism 26 3-13 Religious Poetry versions of Psalm 130 by George Gascoigne and Mary Sidney 36 1-9 Restoration the misadventures of *Julius C sar* under the R. 24 33- 45 Restoration Drama *All for Love* 36 49-71 Resurrection death and rebirth in *Macbeth* and *The Winter s Tale* 21 35-48 death and r. (folk customs in *The Merry Wives of Windsor*) 27 27-41 Revenge Tragedy archetypes of horror and cruelty in Elizabethan r.t. 19 9-25 Rhetoric in Chapman s *An Humourous Day s Mirth* 32 3-11 r. and influence on Marlowe of Petrarch s *Il Canzoniere* (Part II) 29 13-25 rhetorical analysis of Gascoigne s & Mary Sidney s versions of Psalm 130 36 1-9 r. of the emblem and the stage compared 29 39-51 stage r. 33 47-51 r. versus r.: Shakespeare s *Julius C sar* III.2 5 25- 65 in Shakespeare s *Richard III* 37 59-68 r. of denial in* Timon of Athens* 9 29-40 Rhythm the r. and prosody of seven songs from Purcell s *King Arthur* 30 59-70 Ritual ritual and folk customs in *The Merry Wives of Windsor* 27 27-41 pagan r., Christian liturgy, and folk customs in *The Winter s Tale* 22 25-33 Robin Hood and the Elizabethans (a Propagandist note) 22 87-91 and episcopal propaganda 29 83-6 Rochester, Earl of (see Wilmot, John) Romances love letters in romance and comedy: rise and fall of an Elizabethan fashion (and see Prose) 30 35-47 Rome Death or Liberty : the fashion in shrouds [in *Julius Caesar*] 38 25-40 Rowe, George *Thomas Middleton and the New Comedy Tradition* 39 41-6 Rowley, Samuel *When You See Me, You Know Me* what Shakespeare saw in 23 47-59 *The Changeling* the confined world of 39 47-55 Royal Shakespeare Company RSC and play openings 33 47-51 1987 production of *Merchant of Venice*, dir. Bill Alexander 34 53-60 Scrutiny of a Mask: a detailed account of Shakespeare s *Troilus and Cressida* as staged and performed by the RSC at the Swan Theatre, Stratford-upon-Avon, 23 April 1990 39 57-70 Sacrifice Death or Liberty : the fashion in shrouds [in *Julius Caesar*] 38 25-40 Satire *A Chaste Maid in Cheapside* and *Women Beware Women*: feminism, anti-feminism, and the limitations of satire 39 29-39 two Jonsonian neologisms 38 65-8 and Nashe s *The Anatomy of Absurditie* 37 17-26 Shakespeare s use of the dramatic l. of the satirists of the 1590s and the social function of the art of s. in *Timon of Athens* 34 61-78 Scholarship recent s. in Italy 15 97-9 Science and imagination 36 49-71 Seasons That day are you free : *The Shoemakers Holiday* 38 49-60 Sects lower class religious s. and marriage 32 69-73 Semiotics a play of textual inscriptions and proper nouns 38 1-8 Seneca Senecan sources of *A Midsummer Night s Dream* 25 37-51 Setting the confined world of *The Changeling* 39 47-55 symbolic physical s. in Drayton s *Englands Heroicall Epistles* 33 31-45 Shadwell, Thomas *The Virtuoso* 40 93-7 Shakespeare, John and Mary the Aston Cantlow Mortgage 17 21-41 Shakespeare, William the art of antiquity in works by Lyly and Shakespeare 24 3-15 S. and his audiences 11 31-53 cannibalism in S. s imagery 19 27-37 and cause as a theme in the Histories 36 25-35 S. s influence on J. Arden s *Serjeant Musgrave s Dance* 17 77-81 S.s influence on Dryden s *All for Love* 36 49-71 S. s influence on *Moby Dick* 13 41-8 love letters in S. s romantic comedies: an Elizabethan fashion 30 35-47 S. in performance in Provence and Languedoc (summer 78) 15 81-5 S. s utopia and sexuality 32 69-73 repetition, revision, and editorial greed in S. s play texts 34 25-38 romantic views on marriage in S. 32 69-7 women in S. 32 69-7 *All s Well* love and madness in *AW* and other plays 27 85-7 morality types in *AW* and Marston s *The Dutch Courtesan* 25 53-9 *Antony and Cleopatra* Cleopatra and Milton s Dalila 12 69-70 the director s response to *AC* 16 59-68 *AC*, an Ovidian Tragedy? 40 73-7 handling of time and space data in *AC* 13 61-7 its three-stage tragic structure 13 69-73 *As You Like It* the dance in *AYLI*, and in *Twelfth Night* 13 25- 34 Ovidian transformations and folk festivities in *MND*, *MWW* & *AYLI* 25 23-36 in performance and myth 11 55-62 structural study and the pastoral 18 73-8 the tyrant duke of 34 39-51 *Hamlet* dramatic form, cosmic perspective and alienation 27 1-16 Hamlet, man of the theatre 28 37-44 a re-examination of the genesis and fate of the ghost in *H* 35 15-25 and the Protestant view on ghosts 1 25-40 and the rhetoric of emblems and the stage 29 39-51 the sickness imagery in 24 27-32 time and the hero 7 25-41 *1 Henry IV* Hal s crisis of timing 13 15-23 Gadshill s question in 23 99-103 Misconstruction in 37 43-57 1 and 2 *Henry IV* the pragmatics of politics: casting in *Henry IV* and *Henry V* 38 9-24 the synthesis of discourse and themes in 37 27-42 *Henry V* II.3 10 65-6 and Anne of Denmark 29 77-81 the pragmatics of politics: casting in *Henry IV* and *Henry V* 38 9-24 date of composition 29 77-81 Falstaff s death in 27 83 and the Globe 29 77-81 and the Irish Wars 29 77-81 and Capt. Jamy 29 77-81 Henry s politics of non-responsibility 17 11-20 structural craft and dramatic technique 7 51-67 a table of greene fields 33 53-5 *2 Henry VI* rebellion and class consciousness 33 13-22 *Henry VIII* fashioning *Henry VIII* (and Rowley s play) 23 47- 59 *Julius C sar* the misadventures of *Julius C sar* under the Restoration 24 33-45 philosophic background 5 66-92 play structure and dramatic technique 5 93-106 III.2, rhetoric in 5 25-65 Death or Liberty : the fashion in shrouds 38 25- 40 sources 4 15-49 *King Lear* analysis of the conflated *Lear* text 20 71-82 Lear and Cordelia 40 11-20 dramatic form, cosmic perspective and alienation 27 1-16 imagination and image types 9 9-28 influence of *Dr Faustus* on 29 27-37 Lear s map 30 17-33 *Macbeth* death and rebirth in *M* and *WT* 21 35-48 influence of *Dr Faustus* on 29 27-37 excommunication ritual 12 65-8 Machiavellism in 14 9-22 magic in *M* 35 59-84 sonship and fatherhood in *M* 35 47-58 symbolic patterns 6 15-22 time and the hero 7 25-41 *M*, or the symbol of ineluctability 38 41-8 *Measure for Measure* the anagogy of 16 19-26 copiousness and cutting in 15 65-7 II.3.40-2: a crux in 37 69-72 and Sir Wm Davenant s *The Law Against Lovers* 6 27-43 onomastics in 15 69-72 Socratic irony and the deus ex machina in 15 69-72 a source for Angelo s demand 15 69-72 some textual remarks: I.1.6-8; I.2.112; II.2.170-2; II.4.16-17; II.4.80; II.4.123-9; III.1.34-6 15 57-64 *The Merchant of Venice* Belmont and the *Monte di Pieta* 18 69-70 interpreting the *MV* 39 1-16 *MV* s doom 34 53-60 St Paul s doctrine of justification by faith and Portia s strategy in 34 53-60 Shylock s conversion 26 15-27 *The Merry Wives of Windsor* Ovidian transformations and folk festivities in *MND*, *MWW* & *AYLI* 25 23-36 ritual and folk customs in 27 27-41 *A Midsummer Night s Dream* Demetrius s vile name 10 67-8 myth in 18 17-27 Ovidian transformations and folk festivities in MND, MWW and AYLI 25 23-36 Senecan sources of 25 37-51 *Othello* weak function of Othello 7 43-50 *O* and the *Apologia* of Apuleius 21 27-33 Othello s marriage is consummated 34 79-82 *O* and popular traditions 32 13-35 sword dance and *O* 33 57-8 *Pericles* the director s response to 16 59-68 *Richard II* the garden metaphor and Thomas Lodge 8 76-8 and the myth of the Fisher King 30 75-8 time and the hero 7 25-41 *Richard III* conflicting paradigms and progress of persuasion in 37 59-68 *Romeo and Juliet* and Otway s *Caius Marius* 6 3-7 * Tis Pity She s a Whore* and *Romeo and Juliet* 20 49-70 Sonnets Sonnets 21, 23, and 25, essays in definition 22 3- 14 Sonnets 36 and 96, attitude towards the friend, and polysemantic phrasing 9 55-8 You, Thou, He or She: the master-mistress 19 73-84 a play of textual inscriptions and proper nouns 38 1-8 *The Tempest* W.H. Auden s assessment of 11 73-83 symbolism of Ariel s masques 19 53-71 and Jonson s *Hymenaei* 26 29-39 on tour 40 31-6 *Timon of Athens* the rhetoric of denial 9 29-40 dramatic structure of *TA* 34 61-78 an experiment in analysing the social function of the art of satire 34 61-78 *Titus Andronicus* an experiment in expression 31 1-9 *Troilus and Cressida* influence of *Dr Faustus* on 29 27-37 the love plot and Chaucer s *Troilus and Criseyde* 11 1-15 Scrutiny of a Mask: a detailed account of *TC* as staged and performed by the RSC at The Swan, Stratford-upon-Avon, 23 April 1990 39 57-70 *Twelfth Night* the dance in *TN*, and in *As You Like It* 13 25- 34 love and madness in *All s Well*, *TN* and other plays 27 85-7 *The Winter s Tale* death and rebirth in *Macbeth* and *WT* 21 35-48 feasts and festivity 6 8-14 medical theories, sight and vision in *WT* 23 35- 46 pagan ritual, Christian liturgy, and folk customs in *WT* 22 25-33 Words read words said. So, so (II.3.129) 40 21- 30 *Venus and Adonis* representational strife in 36 37-47 Shirley, James *The Triumph of Peace* parodied in *The Tragedy of the Cruell Warre* 15 77-80 Shore, Jane Shore s wife and *The Shoemakers Holiday* 39 17-28 Shore, Matthew Shore s wife and *The Shoemakers Holiday* 39 17-28 Shrovetide That day are you free : *The Shoemakers Holiday* 38 49-60 Shylock S. s conversion 26 15-27 Sickness the s. imagery in *Hamlet* 24 27-32 s. and physic in plays by Middleton and Webster 26 41- 78 Sidney, Mary M.S. s version of Psalm 130 36 1-9 Sidney, Sir Philip and scholarship 15 87-95 Smith, Richard Penn revival of Otway s *History and Fall of Caius Marius* 6 3-7 Society the Hobbesian Commonwealth 30 49-58 Song authenticity of songs in Lyly s plays 30 73-5 London and country cries 8 31-63 songs in *The Bugbears* by John Jeffere 21 13-26 seven songs from Purcell s *King Arthur*: rhythm and prosody, the collaboration with Dryden 30 59-70 Sonnet sequences You, Thou, He or She: the master-mistress in Shakespearian and Elizabethan s.s. 19 73-84 influence of Petrarch s *Il Canzoniere* (Part II) on Marlowe 29 13-25 Source criticism *Antony and Cleopatra*: an Ovidian Tragedy? 40 73-7 Chapman s *Ovids Banquet of Sence* 31 37-43 Cicero s *De Amicitia* and Richard Edwards *Damon and Pithias* 30 71-2 J. Hall s *Mundus alter et idem* as source for Slawkenbergius in Sterne s *Tristram Shandy* 30 79-80 Upon Julia s Clothes by R. Herrick 28 73-6 Lavater s treatise *On Ghosts*... and *Hamlet* 1 25-40 Lear s map (Leir and Lear; Noah and Lear) 30 17-33 Marlowe s *Dr Faustus* and the later Shakespeare 29 27- 37 Marlowe s Petrarch 29 13-25 Morality plays as the source of the Redcrosse Knight s encounter with Despair (Spenser s *FQ*, I, ix) 30 1-15 North s Plutarch and Shakespeare s *Julius C sar* (a chronological catalogue of Shakespeare s borrowings) 4 15-49 Plutarch s *Lives* as a source for Damon s speech on friendship in Richard Edwards *Damon and Pithias* 30 71-2 G. Gascoigne s and Mary Sidney s versions of Psalm 130 36 1-9 Mars and the Carthaginians (*Dr Faustus*, Prologue, line 2) 38 41-8 Sovereignty and the Hobbesian Commonwealth 30 49-58 spacial and temporal variety in Milton s *Paradise Lost* 8 75 Spenser, Edmund *Amoretti* poetic decorum in 25 9-21 *The Faerie Queene* blazonings in 23 1-14 Book I, the poet in the narrator s tale 12 21-43 the Redcrosse Knight s encounter with Despair in 30 1-15 Book III, the Queen s two bodies: Britomart and *FQ* 20 11-33 Book VI: Death as the mother of Beauty 16 3-17 and Gabriel Harvey 31 59-61 *The Shepheardes Calendar* fox and wolf imagery and episcopal propaganda 29 83-6 the importance of November: structural analysis 20 35-48 Spenser, John author of *A Discourse Concerning Prodigies* 36 49-71 Sprat, Thomas author of *History of the Royal Society* 36 49-71 Stage s. business: influence of Marlowe s *Dr Faustus* on the later Shakespeare 29 27-37 s. tableaux and emblems 9 9-28 Stagecraft and the strategy of emblems compared 29 39-51 (17th century): *The Tempest* on tour 40 31-6 Shakespeare s *Titus Andronicus*: an experiment in expression 31 1-9 Staging s. of Chester Mystery Cycle, July 1987 34 1-9 (17th century): *The Tempest* on tour 40 31-6 Words read words said: So, so (WT, II.3.129) 40 21-30 Sterne, Laurence *Tristram Shandy* Slawkenbergius and Joseph Hall 30 79-80 Strolling Players *The Tempest* on tour 40 31-6 Structural Analysis That day are you free : *The Shoemakers Holiday* 38 49-60 Structure in Shakespeare s *Richard III*, Act I 37 59-68 dramatic s. in the confined world of *The Changeling* 39 47-55 Suicide Death or Liberty : the fashion in shrouds [in *Julius Caesar*] 38 25-40 Swan Theatre, Stratford-upon-Avon Scrutiny of a Mask: a detailed account of Shakespeare s *Troilus and Cressida* as staged and performed by the RSC at The Swan, 23 April 1990 39 57-70 Swine and magic in *Macbeth* 35 59-84 Sword circle, s., and the futile quest in Webster s *Duchess of Malfi* 27 53-66 s. dance and *Othello* 33 57-8 Symbol of the ape in English theatrical tradition, 1580-1660 35 1-13 Symbolism *Macbeth*, or the symbol of ineluctability 38 41-8 Tasso, Torquato *Gerusalemme Liberata* see Carew, Richard 13 1-13 Textual Analysis Spenser/Harvey corresp. of Drayton s *Englands Heroicall Epistles* 33 31-45 of *Henry V* 33 53-5 Dr Johnson on Shakespeare 33 23-30 relating to Othello s marriage 34 79-82 in Shakespeare s play texts 34 25-38 of *The Merchant of Venice* 34 53-60 of Shakespeare s use of the word cause 36 25-35 and Nashe s *The Anatomy of Absurditie* 37 17-26 Shakespeare s *Richard III*, Act I 37 59-68 II.3.40-2: a crux in *MM* 37 69-72 The Pragmatics of Politics: Casting in *Henry IV* and *Henry V* 38 9-24 *Macbeth*, or the symbol of ineluctability 38 41-8 *A Chaste Maid in Cheapside* and *Women Beware Women*: feminism, anti-feminism, and the limitations of satire 39 29-39 Words read words said: So, so (II.3.129) 40 21-30 Theatre theatrical metaphor in *Hamlet*: H. man of the theatre 28 37-44 Scrutiny of a Mask: a detailed account of Shakespeare s *Troilus and Cressida* as staged and performed by the RSC at The Swan, 23 April 1990 39 57-70 Thematic reading *Macbeth*, or the symbol of ineluctability 38 41-8 Theology St Paul s doctrine of justification by faith and Portia s strategy in *MV* 34 53-60 Time performance t. and dramatic t. 33 47-5 Topothesias t. in Milton 16 45-58 Touring Players *The Tempest* on tour 40 31-6 Tragedy *Antony and Cleopatra*: an Ovidian Tragedy? 40 73-7 *Macbeth*, or the symbol of ineluctability 38 41-8 Tragicomedy comic irony in medieval t. 18 3-10 Traherne, Thomas mythematics of infinity in the *Poems* and *Centuries* 28 61-71 Travel t. literature and Thomas Hoby 27 67-81 Traveller Thomas Hoby, a t. in Italy 27 67-81 Trickster the courtier as t. in Philip Massinger s *The Duke of Milan* 23 73-82 archetype and character type in drama 27 43-51 Lemot in Chapman s *An Humourous Day s Mirth* 32 3-11 Triumph folk customs in *The Merry Wives of Windsor* 27 27-41 Truth t., deception and acting in *The Alchemist* 23 61-71 Tudor T. myth, its defence by Richard White of Basingstoke 11 17-29 Tyranny Plutarch s Lives and R. Edwards *Damon and Pithias* (friends as kings best guard) 30 71-2 tyrant duke of *As You Like It* 34 39-51 Death or Liberty : the fashion in shrouds [in *Julius Caesar*] 38 25-40 Utopia Eutopians as Christian Humanists in More s *Utopia* 28 17-22 Hythlodaeus and Persona More: the narrative voices of *U* 28 23-35 u. views on marriage in Shakespeare 32 69-73 Vanbrugh, John *The Provoked Wife* and Milton s *Comus* 19 89 Vaughan, Henry *Silex Scintillans* petrification and the living dead 25 87-109 Venice Mori sculptures in V. and *Othello* 33 57-8 Verse dramatic blank verse: social aspects of its changes 12 59-64 Vice and the diversity of Morality plays 28 3-15 and F. Merbury s *The Marriage of Wit and Wisdom* 29 1- 11 Voice Nashe s v. in *The Anatomy of Absurditie* 37 17-26 narrative v. in Greene s Cony-Catching Pamphlets 37 9- 15 Volpone The progress of Trickster in Ben Jonson s *Volpone* 27 43-51 Walton, Izaak *The Compleat Angler* attitudes towards money 9 41-54 Watson, Thomas the influence of Petrarch s *Il Canzoniere* (Part II) on Marlowe in his preface to *Amint gaudia* 29 13-15 Webster, John and scholarship 10 45-63 sickness and physic in plays by Middleton and W. 26 41- 78 *The Duchess of Malfi* dramatic form, cosmic perspective and alienation 27 1-16 love and madness in *DM*, and other plays 27 85-7 the nightmare world of 27 53-66 Weston, Elizabeth Jane (Westonia), new interpretation of her autobiographical obituary poem *Parthenicon* 37 1-8 Whetstone, George Rinaldo and Giletta first Elizabethan prose romance 14 3-8 White, Richard (of Basingstoke) defence of the Tudor myth 11 17-29 Whitney, Geoffrey *Emblemes*, 1586 and Elizabethan stage craft 29 39-51 Whitney, Isabella and the popular miscellanies of Richard Jones 19 85-7 Wilmot, John Facsimile edn. of MS collection of poems largely by 22 51-86 Wind w. and carnival symbolism 32 13-35 Wisdom in F. Merbury s *The Marriage of Wit and Wisdom* 29 1- 11 Wit in F. Merbury s *The Marriage of Wit and Wisdom* 29 1- 11 Wolf fox and w. imagery and episcopal propaganda 29 83-6 Women *A Chaste Maid in Cheapside* and *Women Beware Women*: feminism, anti-feminism, and the limitations of satire 39 29-39 images of the Renaissance woman patron in her house and rural domain 40 37-51 w. in Shakespeare 32 69-73 Wrestling symbolic w. in *As You Like It* 34 39-51 York Cycle of Mystery Plays in performance 13 49-52
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