Speaking of the Moor : From "Alcazar" to "Othello"

56. See especially Mary Floyd-Wilson’s discussion of Best, English Ethnicity, 8 – 11 ,
    which also takes account of context. Compare Neill, Putting History to the Question, 272 ,
    276 ; Boose, “ ‘The Getting of a Lawful Race,’ ” 43 – 44 ; Hall, Things of Darkness, 11 – 12 , and
    Karen Newman, Fashioning Femininity and English Renaissance Drama(Chicago: Univer-
    sity of Chicago Press, 1991 ), 78 – 82.


57. On other versions of this story, see Benjamin Braude, “The Sons of Noah and the
    Construction of Ethnic and Geographical Identities in the Medieval and Early Modern Pe-
    riods,”William and Mary Quarterly, 3 rd ser., 54 , no. 1 (January 1997 ): 103 – 42.


58. See especially Boose, “ ‘The Getting of a Lawful Race,’ ” 44.


59. Armitage, “The New World and British Historical Thought,” 58. I am grateful to
    Benjamin Braude for his remarks on the Northwest Passage.


60. Greenblatt, Marvelous Possessions: The Wonder of the New World(Chicago: Univer-
    sity of Chicago Press, 1991 ), who links this motif of possession to the trope of wonder.

chapter three

1. On the place and parody here of due burial, see Francis Barker, “Treasures of Cul-
   ture: Titus Andronicusand Death by Hanging,” in David Lee Miller et al., eds., 226 – 61 ,
   esp. 231.


2. Loomba declares Aaron “a textbook illustration for early modern stereotypes of
   blackness,” though she admits that it is hard “to agree on what these stereotypes meant to
   Renaissance audiences”; Shakespeare, Race, and Colonialism,75–76. See also James L.
   Calderwood, Metadrama in Shakespeare’s Henriad: Richard IItoHenry V (Berkeley: Uni-
   versity of California Press, 1979 ), esp. 45.


3. I am referring to the well-established parallel with the dialogue in The Jew of Malta


4. 
   
   
   
   3. 177 – 215. On Marlowe’s manipulation of stereotype in these speeches, see my discussion
      inSpectacles of Strangeness, 82 – 108 , esp. 100 – 103.
   
   
   
   


5. For an extensive review and augmentation of this debate, see Brian Vickers, Shake-
   speare, Co-Author: A Historical Study of Five Collaborative Plays(Oxford: Oxford University
   Press, 2002 ), 148 – 243.


6. Compare Jones, Othello’s Countrymen, who considers “the connexion between
   Aaron and Muly Hamet” “conjectural” but “the direct descent from Aaron of Eleazar”
   “undisputed” ( 60 ).


7. Ian Smith, “Those ‘slippery customers’: Rethinking Race in Titus Andronicus,”
   Journal of Theatre and Drama 3 ( 1997 ): 56. For alternative readings of the initial trauma,
   see Deborah Willis, “ ‘The gnawing vulture’: Revenge, Trauma Theory, and Titus Andron-
   icus,”Shakespeare Quarterly 53 , no. 1 (Spring 2002 ): 21 – 52 ; and Naomi Conn Liebler, “Get-
   ting It All Right: Titus Andronicusand Roman History,” Shakespeare Quarterly 45 , no. 3
   (Fall 1994 ): 263 – 78.


8. Barker, 254. Compare Francesca T. Royster, “White-limed Walls: Whiteness and
   Gothic Extremism in Shakespeare’s Titus Andronicus,”Shakespeare Quarterly 51 , no. 4
   (Winter 2000 ): 432 – 55 , who sees Tamora as the more disturbing alien presence within

notes to pages 61–67 209