- Yoklavich, 350 ; D’Amico, 82.
- Barroll, “Mythologizing the Ottoman,” 128.
- I am grateful to Linda Woodbridge for calling my attention to Shakespeare’s ref-
erence. On Amurath (who allegedly killed his brothers to secure the throne), see the notes
to 2 Henry IV 5. 2. 48 inThe Riverside Shakespeare. - From the Levant Company’s charter of 1580 ; Hakluyt, 5 : 178 – 91.
- See my discussion in Spectacles of Strangeness: Imperialism, Alienation, and Mar-
lowe(Philadelphia: University of Pennsylvania Press, 1993 ), 82 – 108. - Hunter reads this isolation instead as “a total freedom in villainy that gave Peele’s
image of Muly Mahamet its contemporary reputation”; English Drama, 80. - Compare Jones, Othello’s Countrymen, who argues that Alcazarstarts as “a typical
revenge play” which is then blurred into chronicle ( 44 ). - Compare John Gillies, Shakespeare and the Geography of Difference (Cambridge:
Cambridge University Press, 1994 ), and his conceptualization of the theatrum mundi,
70 – 98. - On these false promises, see also Barthelemy, Black Face, 82 – 83.
- Yoklavich, 218.
- See David Bevington, Tudor Drama and Politics: A Critical Approach to Topical
Meaning(Cambridge, Mass.: Harvard University Press, 1968 ), 209 – 11 , on the topicality of
this representation. - I am using The Riverside Shakespearehere.
- See Yoklavich, 251.
- See Bovill, 79 – 81.
- Thomas Fuller, The History of the Worthies of England( 1662 ), ed. P. Austin Nut-
tall, 3 vols. (New York: AMS Press, 1965 ), 1 : 415. See also Camden, who describes him as “a
ruffian, a spendthrift, and a notable vapourer” (i.e., according to the OED, a “boastful,
grandiloquent, or vacuous talker”); quoted in Bovill, 80. - On Stukeley’s history, see Bovill, 80 – 81 ; Yoklavich, 247 – 51 ; Candido, 52 – 54 ; and
Larsen, 89 – 91. - Accounts of why Stukeley joined with Sebastian differ. Compare Bovill, 81 , and
Yoklavich, 251. Fuller’s History of Worthiessuggests, among other theories, that Stukeley
agreed to join with Sebastian “because so mutable his mind, he ever loved the last project
(as mothers the youngest child) best” ( 1 : 415 ). - Candido, 55. The implicit reference is, of course, to Oliver Goldsmith’s Letters
from a Citizen of the World( 1762 ); I am grateful to Margreta de Grazia for her comments
on the implications of the concept. - John Drakakis, “Afterword” in John J. Joughin, ed., Shakespeare and National Cul-
ture(Manchester: Manchester University Press, 1997 ), 336. See also Graham Holderness
and Andrew Murphy, “Shakespeare’s England: Britain’s Shakespeare,” in Joughin, ed.,
19 – 41 , and Willy Maley, “ ‘This sceptred isle’: Shakespeare and the British Problem,”
83 – 108 , also in Joughin, ed. - Compare Candido, who argues that Tamburlaine provided an “established stage
type” onto which Peele, in constructing Stukeley, “grafts popular,” individuating details
204 notes to pages 32–39