...Yael Shapira This essay considers the limited presence of the dead body in Horace Walpole’s The Castle of Otranto. The near absence of gory death from the novella is striking, given both its intensive borrowing from Shakespeare’s Hamlet and its status as the founding work of the Gothic tradition...

...Aparna Gollapudi In the last quarter of the eighteenth century, John Bell commissioned hundreds of actor portraits in dramatic roles, which were published as book illustrations in the series Bell’s Shakespeare and Bell’s British Theatre. These portraits contributed significantly to the emergent...

...Christopher Salamone This article seeks to add nuance to the story of Shakespeare's canonization in the eighteenth century, a story that has hitherto neglected the part played by the period's poetic miscellanies. Are there patterns in the form, quantity, and selection of Shakespearean texts within...

...Janine Barchas; Kristina Straub “Curating Will & Jane” provides an overview of the exhibition, Will & Jane: Shakespeare, Austen, and the Cult of Celebrity, opening at the Folger Shakespeare Library in August 2016. Shakespeare and Austen became literary celebrities roughly 200 years after...

...Edmund G. C. King Duke University Press 2008 R Pope’s 1723 – 25 Shakespear, Classical Editing, and Humanistic Reading Practices Edmund G. C. King University of Auckland In his 1756 Proposals for a new edition of Shakespeare...

...Jack Lynch Vanessa Cunningham. Shakespeare and Garrick (Cambridge: Cambridge Univ., 2008). Pp. vii + 231. 9 ills. $99 Reiko Oya. Representing Shakespearean Tragedy: Garrick, the Kembles, and Kean (Cambridge: Cambridge Univ., 2007). Pp. xii + 244. 20 ills. $95 Stuart Sillars. The Illustrated...

... Several contributors to the debate have stressed as a determining fac- tor the historical sense that infused criticism and scholarship at mid-cen- tury, when writers such as Shakespeare and Spenser were awarded de- tailed attention previously reserved for the authors of classical antiquity. Scholar...

... Newman convincingly explains, the related construction of the Shakespeare “myth” by David Garrick, “one of the most important anti- quarians of his day” (112). Newman thus brings into conjunction better-known figures in ballad study, such as Robert Burns and Thomas Percy, with impor- tant but less...

... here focus on literary works, they exhibit a generous variety of approaches to women authors and actors, to famous figures such as Shakespeare, Swift, and Johnson, and to less frequently studied authors such as Nathaniel Lee. Conversations range across centuries as specialists in modern...

..., Edgeworth relies instead, for the whole of the work, on literary representations of Jews, particularly Shakespeare’s Merchant of Venice. Her treatment of Jacob utilizes Shylock’s most famous speech while it reverses Shylock’s character to establish Jacob’s own. Michael Ragussis believes that...

...? What seest thou else In the dark backward and abysm of time?2 Shakespeare’s “abysm” here lies behind James’s recurrent image of the “gulf  ” of time, to suggest what lies beyond the edge of living memory. James was born in 1843, only as long after the long eighteenth century ended, for...

... solidity of the “proof ” we offer in support of the conclusions we proclaim.2 As an exemplum horribile I offer “biographies” of William Shake- speare.3 The facts we possess were laid out by Sam Schoenbaum in Wil- liam Shakespeare: A Documentary Life (1975). The surviving record contains virtually...

..., lexicographer, and editor of Shakespeare— even including a section on his afterlife (“Johnson after Johnson It is rare to encounter a collection of essays that explores such a broad range of topics, with scholarly precision and an eloquent style. In the first part, “Johnson and the Arts of Thought...

... could not have appeared in Shakespeare’s time, Proving A Fake    9 given the shifts in language, yet, as Lynch notes, in a world without extensive lexicographical reference works, Shakespeare too would have failed such a test, since we can...

... (New York: Columbia Univ., 1997), 41 – 58, reprinted from MacKinnon, Toward a Feminist Theory of State (Cambridge: Harvard Univ., 1989). 4. Marsden is author of The Re-Imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory (Lexington: Univ. of Kentucky, 1995), and...

... throughout the land”—and for “entertainment,” for “what could be more delightful than to hear the beautiful and sublime sentiments of a Milton, a Shakespear, a Dryden, a Pope, a Tillotson, a Young, an Addi- son, a Shenstone, or a Mason?” His editorial choices—a combination of established and modern...

... of John Dryden’s dramatic corpus obscures potential clues to Thelwall’s motivation, plots, and characterizations. Dryden’s collaboration with William Davenant in revamping Shakespeare’s Tempest, for instance, introduced Caliban’s huge, amorous sister Sycorax to the stage (a comic figure...

... particular form of cultural work. When Walpole quipped, apropos of Chatterton, that all in the house of forgery were one, he knew he was speaking figuratively; when W.H. Ireland was accused of forging Shakespeare, the metaphor was quite forgotten in the stampede to have him hanged. Studies of...

... mentioned in the articles “Shakespeare” and “Printing,” and under the subheads “Fable,” “Allegory,” and “Satire,” in the very long article, “Poetry.” The long critical article “Dictionary of the English Language,” from the first edition, is reprinted unchanged. In the article on the satirist...

... literary predecessors, or by their predilection for a given verse form, so that each poet belonged to a particular class: The first class seems formed by those who are at the head of some particular branch in their science;—as Spencer of the allegoric; Shakespeare of the dramatic; Milton...