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Reconstructs Robert Lewis' Red Hamlet (a Communist-influenced adaptation of Hamlet) from Lewis' outline and directorial notes.
Focuses on Walter Savage Landor's Shakespeare criticism in highlighting the political dimensions of Shakespeare criticism in Romantic England. Suggests that Landor raises the liberating possibility that Shakespeare can be read as "slippery, subversive Shakespeare."
Examines Elizabeth Inchbald's essays on Shakespeare and how her experience as an actress and a playwright influenced her reading. Argues that her alternative approach to the relationship between text and its consumers gives her work significance as a female Romantic.
Uses Hamlet in highlighting the potential of female critics and actresses to unsettle Romantic paradigms. Focuses on the Romantic idea of genius and its influence on constructing poetic subjectivity as specifically male.
In reconsidering William Wordsworth's relationship to Shakespeare, argues that he was aware of the historical situatedness of his imagination through his appropriation of Shakespeare.
In examining Charlotte Smith's allusions to and quotations from Shakespeare, finds that she strategically appropriates Shakespeare claim authority for her use of natural history and political views as well as "equality with male writers."
Studies allusion to Hamlet in Emily Dickinson's "He Fumbles at Your Soul," suggesting that the sublimity of Shakespeare in his interplay of sound and sense also appears in Dickinson's poem.
Focuses on S. T. Coleridge's reworking of elements from Winter's Tale and Cymbeline in Zapolya, arguing that his appropriation of Shakespeare is an effort to ground his political commentary in universal truths.
Draws on Shakespeare's on-stage ghosts in examining James Boaden's Fontainville Forest, a theatrical adaptation of Ann Radcliffe's Romance of the Forest. Argues the presence of the Shakespearean ghost in Gothic drama shows Shakespearean influence on the arts in the 1790s.
Examines the Romantic French tradition of adapting Hamlet as a response to debates over neoclassical aesthetics, focusing on the French adaptation by Jean-François Ducis and the musical treatment of Hamlet and Ophelia in Ambroise Thomas's opera Hamlet(q.v.).