- Ray, 33. See also Gillies, 104.
- Loomba, Shakespeare, Race, and Colonialism, 84 ; emphasis added.
- Loomba, Shakespeare, Race, and Colonialism, 84.
- Loomba, Shakespeare, Race, and Colonialism, 84 ; emphasis added.
- Compare Ray, on the interpretation of this conflict and this claim, 33 – 34.
- Ray, 33 ; Gillies, 104.
- Loomba, Shakespeare, Race, and Colonialism, 84 ; Virginia Vaughan, “The Con-
struction of Barbarism,” 175. - In efforts to reverse this editorial tendency, Bate argues that, although “the cou-
plet form suggests a self-contained aside,” “it would not be out of character for Saturninus
to speak these lines publicly”; note to 1.1.265–66. - On Edward II, see my discussion in Spectacles of Strangeness, 143 – 72. See also
Gregory W. Bredbeck, Sodomy and Interpretation: Marlowe to Milton(Ithaca, N.Y.: Cornell
University Press, 1999 ), 48 – 77. - See Bate’s note to 1. 1. 321.
- From Bate’s note to 1. 1. 467 – 68 andThe Oxford English Dictionary Online(Ox-
ford: Oxford University Press, 2007 ). - See Bate’s note to 1. 1. 499 on the division of the act, which usually precedes Aaron’s
first speech. - Compare Loomba, Shakespeare, Race, and Colonialism, 84 , who argues that
Tamora’s relation with Aaron sets her apart from the Goths and the Romans. - Christopher Miller, 6.
- Loomba, Shakespeare, Race, and Colonialism, 81 , assigns Aaron a “servile status”;
see 79 – 82. See also Habib, who reads Aaron as a “colonized black subject” ( 109 ), limited
by “his memory of her past colonization of him as her slave” ( 110 ). - Greenblatt’s contention that Shakespeare anticipates Freud is still, I think, persua-
sive; “Psychoanalysis and Renaissance Culture,” in Learning to Curse: Essays in Early Mod-
ern Culture(New York: Routledge, 1990 ), 131 – 45. - On “dull,” see Bate’s note to 1. 1. 195.
- See Bate’s note to 2. 2. 293 – 94.
- Barker provocatively uncovers the suppressed violence in the clown scene, though
he argues that the violence is “naturalized” by its “occlusion” ( 255 ). - See Bate’s note to 5. 1. 122.
- The translation is Bate’s; see note to 4. 2. 20 – 21.
- We see signs here of humanist educational practice, whereby students ingested
fragments of texts, quite apart from context. See Mary Thoms Crane, Framing Authority:
Sayings, Self, and Society in Sixteenth-Century England(Princeton, N.J.: Princeton Univer-
sity Press, 1993 ), esp. 53 – 76. Lily’s Grammar, in which the verse appears, depends in part
on the practice of reading through idioms and imitating the structure of figures; see Crane,
87 – 88. - Joyce E. Chaplin, “Race,” in Armitage and Braddick, eds., 155.
- According to The New Shorter Oxford English Dictionary, “swart” means “wicked,
iniquitous; baleful, malignant.”
212 notes to pages 75–90