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Contends that pairing Coleridge's treatment of Moors in Osorio and Remorse with Othello "illuminates [Coleridge's] reading of Othello as a noble warrior of 'Royal Birth' rather than a 'Slave'."
Considers the effect of two Polish translations of "fair is foul and foul is fair" from Macbeth and how it relates to genre. Considers Macbeth as a tragedy, morality play, and "a drama suggesting relativity within the system of values." English summary, 293.
Pointing out that critics generally take for granted that Desdemona's handkerchief is white cloth, focuses instead on the stage property's "relation to Othello, and its role in constructing an idea of blackness and race that places severe constraints on black subjectivity." With a response by Michael Neill, 26-31.
Considers George Bernard Shaw's self-representation and portrayal of Shakespeare in Shakes Versus Shav. Argues that Shaw's puppet play suggests a creative authorship, "a source of aesthetic and economic autonomy." "Seeks to reframe the grappling portrayed in Shakes Versus Shav within the larger idea of the uniquely vexed creative authority for playwrights, arguing that Shaw presciently muses over the ramifications for the Shavian text upon the death of the author."
Demonstrates that in his public lectures ("an alternative form of entertainment"), Samuel Taylor Coleridge performed his Shakespearean criticism.
Compares the 'medley' poem Pimlyco; or, Runne Red-Cap (1609) with Tempest. Suggests that the pamphlet offers "a glimpse here of how Shakespeare might have worked the accounts of the new World from the Roanoke and Jamestown expeditions into a drama whose place is in America, in the Mediterranean, but more urgently in London's suburbs."
Discusses madness, its gendering, and its relations to illness in Two Noble Kinsmen and Winter's Tale. Concludes that "both tragicomedies dwell on madness, value systems and concepts of love to illustrate how tragicomedy remains in between a nostalgic past and a not yet optimistic future."
Argues that with Orlando's gender identification and "racial hermaphroditism," Virginia Woolf attempts to resist "the conservative sexual and racial ideologies" represented in Shakespearean interracial love and murder (in, most notably, Othello).
Play.
Argues that the "distinctive language of female passion" in the cursing and lamentations of the women in Richard III" is indebted to the rhetorical training in the Elizabethan grammar school use of William Lily's Grammar and its treatment of the optative mood. With a response by Ruth Morse, 44.