Wikipedia

List of Shakespearean settings

This is a list of the settings of Shakespeare's plays. Included are the settings of 38 plays, being the 36 plays contained in the First Folio, and Pericles, Prince of Tyre and The Two Noble Kinsmen.

Places mentioned in Shakespeare's[a] text are not listed unless he explicitly set at least one scene there, even where that place is important to the plot such as Syracuse in The Comedy of Errors or Milan in The Tempest. Similarly, the place where an historical or mythical event depicted by Shakespeare is supposed to have happened is not listed unless Shakespeare mentions the setting in the play's text, although these places are sometimes mentioned in the text or footnotes. For example, most editors place act 3 scene 2 of Julius Caesar ("Friends, Romans, countrymen...")[1] at "the Forum"[b] but there is no listing for the Forum on this page because Shakespeare's text does not specify it.

Contents:

Nations, cities and towns:

A | B | C | D | E | F | G | H | I | K | L | M | N | O | P | R | S | T | V | W | Y

Less-specific settings

More-specific settings

Wars and battles

Settings by scene:

All's Well That Ends Well | Antony and Cleopatra | As You Like It | The Comedy of Errors | Coriolanus | Cymbeline | Hamlet | Henry IV, Part 1 | Henry IV, Part 2 | Henry V | Henry VI, Part 1 | Henry VI, Part 2 | Henry VI, Part 3 | Henry VIII | Julius Caesar | King John | King Lear | Love's Labour's Lost | Macbeth | Measure for Measure | The Merchant of Venice | The Merry Wives of Windsor | A Midsummer Night's Dream | Much Ado About Nothing | Othello | Pericles, Prince of Tyre | Richard II | Richard III | Romeo and Juliet | The Taming of the Shrew | The Tempest | Timon of Athens | Titus Andronicus | Troilus and Cressida | Twelfth Night | The Two Gentlemen of Verona | The Two Noble Kinsmen | The Winter's Tale

References


Settings in Britain
Settings in Britain and France
Settings elsewhere

Nations, cities and towns

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A

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B

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C

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D

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  • For Denmark see "Elsinore".
  • Dover in England and various places in its vicinity, including the camps of the French and British armies nearby, are settings in the latter half of King Lear.[71][72][53][73]

E

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  • For Egypt see "Alexandria" and, under more-specific settings below, "Cleopatra's Monument".
  • Elsinore:
  • England:
    • See also "Barnet", "Bosworth", "Coventry", "Dover", "London", "Rochester", "Salisbury", "Shrewsbury", "Southampton", "St Albans", "St Edmundsbury", "Tewkesbury", "Wakefield", "Windsor" and "York", and, under less-specific settings, below, "Castle", and, under more-specific settings below, "Baynard's Castle", "Blackfriars", "Eastcheap", "Ely House", "Forest of Arden", "Gad's Hill", "Garter Inn", "Gaultree Forest", "Gloucestershire", "Herne's Oak" "Kenilworth Castle", "Kimbolton Castle", "Pomfret Castle" "Southwark", "Swinstead Abbey" "Temple Garden", "Tower of London" "Westminster Palace" and "York Place".
    • See also "English Court" under more-specific settings below.
    • The frame story of The Taming of the Shrew (i.e. the two scenes of the "Induction" and a short exchange at the end of act 1 scene 1), in which the drunken tinker Christopher Sly is persuaded he is a lord and is invited to watch a play, has no specified setting, but appears to be in England since Sly claims to be from Burton Heath,[78] Warwickshire, and to know a "fat alewife of Wincot".[79][80]
    • England, probably at the court of Edward the Confessor, is the setting of a lengthy scene in which Malcolm tests Macduff's loyalty, and then Macduff learns of the murder of his family, in Macbeth.[81][82][83][84]
    • England, somewhere near the border by Berwick (which was, at the time the play is set, in Scotland), King Henry visits his former dominions, and is captured by two keepers, in Henry VI, Part 3.[85][86][87]
    • "England" is the only location given in a stage direction in Henry VI, Part 3, presumably to clarify the location since the scene (act 4 scene 2) includes French soldiers. Neither it nor the following scene, in which Warwick's powers overcome Edward's guards at his tent and take him prisoner, is given any more specific location.[88][89]
  • Ephesus:

F

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G

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  • For Greece see "Actium", "Athens", "Mytilene", "Philippi" and "Thebes".

H

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I

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K

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L

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  • For Libya see "Pentapolis".

"It is a truism that every Shakespearean city is always, to some degree, London."

— Kent Cartwright[117]

M

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N

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O

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P

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R

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"Rome, dominated by men, appears as a daylight world of conquest, rationality, and self-sacrifice. Eqypt, dominated by women, appears as a night-time world of love, fantasy and self-indulgence."

— Robert S. Miola[153]

S

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T

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V

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W

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Y

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Less-specific settings

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  • Battlefield:
    • For specific battlefields, see the entry for the place after which the battle is named.
    • An unnamed battlefield is the setting of a supernatural scene in which Joan communes with fiends, in Henry VI, Part 1, followed by her capture, and then Suffolk captures Margaret. Historically, Joan was captured at Compiègne in France, and Suffolk's capture of Margaret is unhistorical.[257][258]
  • Castle:
    • For specific castles identified by Shakespeare, see more-specific settings below.
    • A castle somewhere in England is the setting of the death of Arthur in King John. There is an internal scene in which Arthur persuades Hubert not to kill him, and an external scene in which Arthur dies in trying to escape, and his body is discovered. Shakespeare gives no indication which castle is intended: speculation has included Northampton, Dover, Canterbury or the Tower of London.[259] Historically, Arthur was not held in England at all, but at Rouen Castle in France.[260][261]
    • In Henry IV, several scenes (act 2 scene 3 of Part 1, and act 1 scene 1 and act 2 scene 3 of Part 2) are set at the castles which are the homes of Hotspur and Northumberland, without the location being specified other than being described by Rumour as "this worm-eaten hole of ragged stone".[262] Historically in both cases this would have been Warkworth Castle.[263][264]
    • In Henry VI, Part 3, a scene is set at "your Castle",[265] near Wakefield: meaning York's. Historically, that was Sandal Castle.[266]
  • Forest:
  • Gaol:
    • An unspecified gaol is the setting of the (unhistorical) meeting of York with Mortimer in Henry VI, Part 1.[275]
  • Graveyard:
    • A graveyard near Elsinore is the setting of the "Alas, poor Yorick"[276] sequence, and of the funeral of Ophelia, in act 5 scene 1 of Hamlet.[277][278][279]
  • Island:
  • Park:
    • A park, where Edward is out hunting accompanied by his captors, is the setting of the rescue of Edward by Richard and his followers, in Henry VI, Part 3. The only textual hint to its location is that Edward is the prisoner of the Bishop of York. Historically, Edward was held at Middleham Castle, in Yorkshire.[283][284][285][286]
  • Road:
  • Ship:
    • Pericles' ship, on its voyage around the Mediterranean, is the setting of various scenes in Pericles.[296]
    • A ship threatened by a storm on a voyage from Tunis to Naples is the setting of the opening scene of The Tempest.[297]

More-specific settings

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Locations identified as being in or around the home of a specific character are not listed, including where that home is a "castle", "cave" or "cell". Similarly, the "court" of any character who is a ruler is not listed unless Shakespeare gives it a specific location. Also not listed are generic locations such as "abbey", "brothel", "mart", "palace", "prison", "seashore" or "street", nor buildings given fictional names such as "the Porpentine", "the Phoenix" and others in The Comedy of Errors or "the Elephant" in Twelfth Night.

Military camps are not listed separately, and where relevant are mentioned under the name of the city being besieged or the place after which the battle is named.

Many Shakespearean characters are named after places: usually because they are known by their noble title rather than their actual name. This list does not assume that the homes of those characters are in that place unless Shakespeare's text explicitly places them there: even where that was true of the historical person upon whom the character is based. For example, there is no listing on this page for Gloucester in England (although see "Gloucestershire" below) even though there are characters usually described as Gloucester in King Lear, Henry IV (Part 2), Henry V, all three parts of Henry VI, and Richard III, and some scenes are set at their homes.

Wars and battles

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This table is a chronological list of the historical wars and battles partially dramatized by Shakespeare[a] in the 38 plays covered by this page.

‡ Italics in the "Battle or Siege" column indicate a battle not explicitly dramatized by name, with an explanation of the reason for its inclusion in the footnotes.

The battles in All's Well That Ends Well,[af] Cymbeline,[ag] King Lear,[ah] Titus Andronicus[ai] and The Two Noble Kinsmen[aj] appear to have no basis in any real indentifiable historical conflicts, and accordingly are not listed in the table.

Also not included are popular rebellions: specifically, Jack Cade's Rebellion of 1450 is dramatized by Shakespeare[ak] in act 4 of Henry VI, Part 2.[466] Its presentation includes events drawn from the chronicles of the rebellions of Jack Straw and Wat Tyler also.[465]

Wider Conflict Battle or Siege Play Scene[al]
The Trojan War Siege of Troy
12th or 13th Century BCE		 Troilus and Cressida The whole play
Roman–Volscian Wars Siege of Corioli
493 BCE		 Coriolanus Act 1 - scenes 4 to 11
Volsican invasion of Rome
491-488 BCE		 Coriolanus Act 4 -scenes 6 & 7
Act 5 scenes 1 to 5
Liberators' Civil War Battle of Philippi
42 BCE		 Julius Caesar Act 5 - the whole act[159][160]
Antony's Parthian War ‡ Battle of Mount Gindarus[am]
38 BCE		 Antony and Cleopatra Act 3 - scene 1[422]
Last War of the Roman Republic Battle of Actium
September 31 BCE[467]		 Antony and Cleopatra Act 3 - scenes 7 to 10[6][153][an]
Battle of Alexandria
1-30 July 30 BCE		 Antony and Cleopatra Act 3 - scenes 12 to 13
Act 4 - the whole act
Act 5 - the whole act[10][422]
Rebellions against Macbeth Battle of Dunsinane
27 July 1054;[468] &
‡ Battle of Lumphanan
15 August 1057
[469][better source needed][ao]		 Macbeth Act 5 scenes 2 to 11
First Hundred Years' War[ap] ‡ Siege of Mirabeau[aq]
1202[472]		 King John Act 2 - the whole act
Act 3 - the whole act
‡ First Barons' War[ar]
1216[475]		 King John Act 5 - scenes 2 to 5
Rebellions against Henry IV Battle of Shrewsbury
21 July 1403[476]		 Henry IV, Part 1 Act 4 - scenes 1 and 3
Act 5 - the whole act[194][195]
‡ Gualtree Forest[as]
1405-1408		 Henry IV, Part 2 Act 4 - scenes 1 & 2[478][477]
Hundred Years' War Siege of Harfleur
18 August - 22 September 1415
[better source needed]		 Henry V Act 3 - scenes 1 to 3[479][480][481][482]
Battle of Agincourt
25 October 1415[483]		 Henry V Act 3 - scene 7
Act 4 - the whole act[484][485]
Siege of Orléans[at]
12 October 1428 – 8 May 1429		 Henry VI, Part 1 Act 1 - scenes 2 to 3 and 5 to 8
Act 2 - scenes 1 to 2[139][141][44]
‡ Rouen[au] Henry VI, Part 1 Act 3 - scenes 2 to 6
‡ Siege of Bordeaux[av]
August - October 1453
[better source needed]		 Henry VI, Part 1 Act 4 - scenes 2 and 5 to 7
Wars of the Roses First Battle of St Albans
22 May 1455[486]		 Henry VI, Part 2 Act 5 - scenes 2 to 5[487][486]
Battle of Wakefield
30 December 1460[488]		 Henry VI, Part 3 Act 1 - scenes 3 and 4[aw]
‡ Battle of Mortimer's Cross[m]
2 February 1461		 Henry VI, Part 3 Act 2 - scene 1
‡ Battle of Towton[ax]
28-29 March 1461[489]		 Henry VI, Part 3 Act 2 - scenes 3 to 6
Battle of Barnet
14 April 1471[34][490]		 Henry VI, Part 3 Act 5 - scene 2[34][491][492]
Battle of Tewkesbury
4 May 1471[493][494]		 Henry VI, Part 3 Act 5 - scenes 3 to 5[495][496][492]
Battle of Bosworth Field
22 August 1485[497]		 Richard III Act 5 - scenes 2 to 8[46][48]
Fourth Ottoman–Venetian War ‡ Ottoman invasion of Cyprus[ay]
1570[500]		 Othello Act 1 - scene 3
Act 2 - scenes 1 to 2

Settings by scene

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"Too precise effort on the part of editors to indicate locations misrepresents the practices of Elizabethan stagecraft, which allowed the spoken language to establish place whenever an exact sense is required."

— David Scott Kastan[501]

This table lists each scene in the 38 plays covered by this article, and gives its location. Unlike the section "More-specific settings" above, the "specific setting" column does include the homes of particular characters, and generic non-geographical settings such as "market-place". Where the location is not specified in Shakespeare's text, the table will say "Not specified" but, where relevant, its footnote will mention the settings suggested by scholars or by Shakespeare's sources.

Although locations were, until recently, routinely provided for each scene by Shakespeare's editors, reflecting the pictorial and realistic sets of 18th to 20th century theatre practice, performances in Shakespeare's own time happened on bare, non-localized stages.[502][503] For examples, the early texts of neither Henry IV, Part 1 nor As You Like It contain any indications of their scenes' locations in their stage directions.[501][504] Michael Hattaway says "1 Henry VI was written for and, in my opinion, demands to be acted upon a stage which makes no attempt to create scenic illusion."[505]

As Stanley Wells explains modern editorial practice, with specific reference to King Lear:

The practice, going back to Rowe (1709) of heading each scene with a statement of its supposed location - 'A room in the Duke of Albany's Palace' or 'A Chamber in a Farmhouse adjoining the Castle' to quote from Muir's edition[az] - has slowly been abandoned... Some editors, however, continue the practice in their notes... It seems reasonable to do so when a location for the action is clearly implied, and provided it is understood that this need not be, and in Shakespeare's theatre would not have been, realistically represented.[507]

Plays on early modern public stages were not divided into acts and scenes, although they were at the private theatre at Blackfriars.[508] In the public theatres between 1592 and 1607, continuous flow, rather than act intervals, was the performance practice.[509] All act and scene divisions in the table are taken from The Oxford Shakespeare - The Complete Works (second edition) but these are not consistent across all modern editions of Shakespeare's plays.[ba]

References

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Notes

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  1. 1 2 Throughout this page "Shakespeare" is used as a shorthand for "the author(s) of the play(s)" even though many plays listed are colloborations. See William Shakespeare's collaborations.
  2. 1 2 Most editors have followed Nicholas Rowe in 1709 in placing the "Friends, Romans, countrymen..." scene of Julius Caesar at "the Forum".[2] Shakespeare's text refers to "the market-place".[3][4]
  3. 1 2 3 4 There has been critical debate about whether the closing scene of Coriolanus is set at Antium, which is its location in Shakespeare's source: North's translation of Plutarch's Parallel Lives. The only lines placing it there, indirectly, are the references to Aufidius' "native town"[607] and to "the Antiates".[608] Other lines may be taken to place the scene at Corioli: Aufidius says "Dost thou think I'll grace thee with that robbery, they stol'n name, 'Coriolanus', in Corioles?".[609] Singer located the scene at Corioli. Peter Holland summarises the debate: "All that really matters to Shakespeare (and to audiences, who never notice a problem) is that it is set in Volscian territory."[610]
  4. ↑ See Henry VI, Part 1 act 4 scenes 3 & 4.
  5. 1 2 Iden describes himself as "a squire of Kent"[726] and Shakespeare sets the scene at his garden. In Shakespeare's sources the historical story is different: Alexander Iden was a Sheriff actively tracking-down Cade, which he did at Heathfield in Sussex.[727][728]
  6. 1 2 3 See also: Siege of Orléans.
  7. 1 2 3 There were seven cities named Pentapolis in the ancient world. Suzanne Gossett concludes that Cyrene in Libya is the setting in the play, by reference to the source Historia Appoloni in which it is referred to as "Pentapolitanus Cyrenaeorum terras".[156]
  8. ↑ Historically, according to Shakespeare's source Holinshed, these events occurred at Conwy.[240]
  9. 1 2 Historically, on returning from Ireland, Richard instead landed at Milford Haven.[241][242]
  10. 1 2 Shakepeare's source, Holinshed, places the meeting of Glendower and the other rebels at the home of the Archdeacon of Bangor.[245]
  11. 1 2 3 This scene, between a Roman soldier and a Volsce soldier, may occur on the road between Rome and Antium, as suggested by Malone. Rowe set it at Antium.[596]
  12. ↑ Historically, according to Shakespeare's source (Hall) Edward and Warwick met at Chipping Norton.[292]
  13. 1 2 3 Historically, the apparition of the three suns was supposedly seen at the Battle of Mortimer's Cross, which is not otherwise dramatized by Shakespeare.[293][294]
  14. 1 2 The site of the annulment of Katherine's marriage to Henry later became the site of Blackfriars Theatre at which Shakespeare's company the King's Men performed.[312]
  15. 1 2 Historically the events depicted in the opening scene of Richard II happened on 29 April 1398 at Windsor Castle, where Mowbray was being held.[348][349][350]
  16. 1 2 Historically, the main events of the "deposition scene" of Richard II happened on 30 September 1399 at Westminster Hall.[342][345][351] Richard's appearance in the scene is unhistorical.[352] Other events dramatized in the same scene actually occurred at subsequent meetings of parliament in October of that year.[353]
  17. 1 2 Historically, the funeral of Henry V, which forms part of the action of the opening scene of Henry VI, Part 1, happened at Westminster Abbey, although the events recounted in the scene actually happened over a number of years.[358][359][360][361]
  18. 1 2 Historically, according to Shakespeare's source Hall, the parliament dramatized in act 3 scene 1 of Henry VI, Part 1 did not happen in London at all, but at Leicester.[696][697]
  19. 1 2 The peace negotiations and proposals for Henry's marriage to the daughter of the Earl of Armangac, and later to Margaret, happened historically at Arras and Tours (both in France) some nine years apart.[363]
  20. 1 2 Theobald simply placed the opening scene of Henry VI, Part 2 at the King's palace, London.[710]
  21. 1 2 The opening scene of Henry VI, Part 3 is set at the English Parliament which met at Westminster Palace.[365] The events represented in it telescope a period of some five and a half years of historical time, from May 1455 to October 1460.[366]
  22. 1 2 According to Shakespeare's source (Hall) Edward and Elizabeth met at Grafton Manor.[367]
  23. 1 2 Queen Elizabeth took sanctuary at Westminster Abbey, although the text does not refer to it.[368][369]
  24. 1 2 In history, the "palace" referred to at 4.10.1 is that of the Bishop of London.[370]
  25. ↑ In this case the scene numbers are taken from the Oxford Complete Works 2nd Edition (which is the source for all references to Shakespeare's works on this page). In Cox & Rasmussen 2001, act 4 scene 5 is scene 4, and scenes 9 & 10 are one scene numbered 8.
  26. 1 2 The Field of the Cloth of Gold (which took place between Ardres and Guisnes in France) is described in detail in the opening scene of Henry VIII but is not itself a setting of it.[373][374]
  27. 1 2 The events of the closing scene of Henry VIII, which dramatizes the christening of Elizabeth I, probably happened historically at Greenwich Palace or, more specifically, at Grey Friar Church at Greenwich. Even so most editors follow Theobald in setting the scene at the court.[375][376]
  28. ↑ Scenes which are not otherwise listed on this page, because they happen at the English court without Shakespeare's text specifying its location, include:
    King John: Act 1 scene 1, act 4 scene 2 and act 5 scene 1;[347]
    Richard II: Act 1 scenes 1[o] & 4, act 2 scene 2, act 4 scene 1,[p] and act 5 scenes 3, 4 & 6;[354][355]
    Henry IV Part 1: Act 1 scene 1, act 1 scene 3, and act 3 scene 2;[356]
    Henry V: Act 1 scenes 1 & 2;[357]
    Henry VI Part 1: Act 1 scene 1,[q] act 3 scene 1,[r] and act 5 scenes 1 & 7;[362][s]
    Henry VI Part 2: Act 1 scenes 1[t] & 3, and act 4 scene 4;[364]
    Henry VI Part 3: Act 1 scene 1,[u] act 3 scene 2,[v] act 4, scenes 1, 5,[w] 9 & 10,[x][y] and act 5 scene 7;[371][369]
    Richard III: Act 1 scenes 1 & 3, act 2 scenes 1, 2 & 4, act 4 scenes 2, 3 & 4;[372]
    Henry VIII: Act 1 scenes 1,[z] 2 & 3, act 2 scenes 2 & 3, act 3 scene 2, and act 5 scenes 1, 2, 3 and 4.[aa][377]
  29. 1 2 Act 3 scene 4 is unhistorical.[383] Act 3 scene 5 contains the line "Prince Dauphin, you shall stay with us in Rouen"[384] which is also the location of the scene according to Holinshed.[385][386]
  30. 1 2 Historically, the peace was settled at Troyes in France, around five years after the Battle of Agincourt.[387][338][388]
  31. ↑ Scenes which are not otherwise listed on this page, because they happen at the French court without Shakespeare's text specifying its location, include:
    Henry V: Act 2 scene 4, act 3 scenes 4 & 5;[ac] and act 5 scene 2;[387][ad]
    Henry VI Part 3: Act 3 scene 3.[389]
  32. ↑ In All's Well That Ends Well, Shakespeare's source was Boccaccio's Decameron which draws on the general antagonism between Siena and Florence around the time of the Italian Wars.[458][459]
  33. ↑ In the case of Cymbeline, Shakespeare drew on episodes recounted in Holinshed's Chronicles and Geoffrey of Monmouth's The History of the Kings of Britain.[460]
  34. ↑ The story of King Lear is set in prehistoric Britain and derives from folk tales. The closest to an historical source is the recounting of the tale in Geoffrey of Monmouth's The History of the Kings of Britain.[461]
  35. ↑ Titus Andronicus is not historical, and is not set in any specific era of Roman history. The Goths in its story represent, in Jonathan Bate's words, "all the enemies of Rome".[462][463]
  36. ↑ The battle in the opening act of The Two Noble Kinsmen, in which Theseus defeats Creon, primarily derives from Geoffrey Chaucer's The Knight's Tale, although the story has several predecessors in Ancient Greek drama: most closely resembling Euripides' The Suppliants.[464]
  37. ↑ As always on this page, "Shakespeare" is a shorthand for "the author(s) of the play(s)", some of them being collaborative. In this case John Dover Wilson believed he had detected the hand of Thomas Nashe in the Jack Cade scenes of Henry VI, Part 2.[465]
  38. 1 2 3 In the table, act and scene divisions are taken from "The Oxford Shakespeare: The Complete Works" Second Edition (i.e. Jowett, Montgomery, Taylor & Wells 2005). These do not always accord with the division of acts and scenes in the other sources used on this page.[510]
  39. 1 2 Historically, Pacorus was killed by Ventidius's forces at the Battle of Mount Gindarus, also known as the Battle of Cyrrhestica. Shakespeare dramatizes the triumph following this event, but does not refer to its setting, nor to the battle by name.
  40. 1 2 The scenes set in Actium, depicting the Battle of Actium, which was a sea battle, take place entirely on shore: showing the preparation, the battle as witnessed by spectators, and its aftermath.[548]
  41. ↑ Although mostly fictional, the battle dramatized at the end of Macbeth reflects the events of two real conflicts: Dunsinane, at which Siward defeated Macbeth's forces and purported to appoint Malcolm (who later became Malcolm III of Scotland) as a puppet king; and the later battle at Lumphanan at which Macbeth died.[470]
  42. ↑ In King John, Shakespeare depicts the events leading up to the Treaty of Le Goulet and the sporadic wars between the Angevin Empire and the Kingdom of France in the early years of the 13th century as if it were one campaign centred on the town of Angiers (i.e. Angers in present-day France).[471]
  43. ↑ Much of King John is based on dramatic rather than historical sources (see sources of King John) but its scenes set at Angiers are based in part on the chronicle history of the 1202 siege of Mirabeau[472][473]
  44. ↑ Shakespeare depicts Louis the Dauphin of France's intervention in the First Barons' War as events occurring around St Edmundsbury (i.e. Bury St Edmunds in England).[474]
  45. ↑ The Gaultee Forest episode of Henry IV, Part 2 telescopes the events of the 1405 Northern Rising and the 1408 Battle of Bramham Moor.[477]
  46. 1 2 Joan's attack on the English forces at Orleans happened in April and May of 1429. The encounter between her and Talbot is unhistorical, as is the English recapture of the city.[684][685]
  47. 1 2 The events set at Rouen in Henry VI, Part 1 are almost entirely unhistorical. Rouen itself remained in English hands until 1449, long after the death of Joan in 1431. The scene may have been partly influenced by a story in Robert Fabyan's 1516 The New Chronicles of England and France of the taking of the minor Castle of Cornill.[699]
  48. 1 2 The battle scenes which Shakespeare appears to place at Bordeaux, containing the deaths of the Talbots, father and son, actually, according to his sources Holinshed and Hall, happened at Castillon, in the Dordogne.[705][706][707] The siege of Bordeaux occurred in 1451 and the Talbots' deaths in 1453: both events long after the death of Joan in 1431.[707]
  49. 1 2 Act 1 scenes 3 and 4 of Henry VI, Part 3 depict the 1460 Battle of Wakefield[733][734][735]
  50. 1 2 Act 2 scenes 3 to 6 of Henry VI, Part 3 dramatize the 1461 Battle of Towton, although the location is not mentioned in the text.[736][737][738]
  51. ↑ Shakespeare's Othello has parallels with the 1570 Turkish invasion of Cyprus. In those historical events, however, Cyprus was taken by the Turks, who still held it when the play was written, which is the opposite of the action of the play, in which the Turkish fleet is disbursed and Cyprus is retained.[498][499]
  52. ↑ This refers to Kenneth Muir's Arden second series edition of the play.[506]
  53. ↑ The footnotes to the table do not cover differences in the treatment of act and scene divisions generally, but usually do mention those cases where the act and scene divisions are different between the Oxford Complete Works and another edition used to source information about the play in the table.
  54. ↑ Although Shakespeare's text does not specify it, historically Pompey's court was located on Sicily in present-day Italy.[420][422]
  55. ↑ Although the location is not specified by Shakespeare, according to Shakespeare's source (North's translation of Plutarch's Lives) Pompey's Galley was moored near the Mount of Misena, in modern-day Italy.[426][422]
  56. ↑ This scene occurs at Parthia's border with the Roman Empire. The sources cited suggest several modern nations that might be the location of it.
  57. ↑ Plutarch, Shakespeare's source, located the events dramatized in this scene at Taenarum, in Greece.[549]
  58. 1 2 3 4 5 6 7 8 9 10 Act 4 scene 7 is the only scene treated differently in the Oxford Complete Works (which is the source for act and scene numbers in this table) and John Wilders' Arden edition of Antony and Cleopatra (which is the main source for most other information about the play on this page). In Oxford this is a short separate scene of only three lines long: in Wilders those are the opening lines of the following scene. Accordingly, scenes 7 and 8 in Oxford are scene 7 in Wilders, and scenes 9 to 16 in Oxford, and in this table, are scenes 8 to 15 in Wilders.
  59. ↑ John Wilders observes that the scene appears to begin on a hill where Antony can witness the sea battle, but to continue inside Alexandria, where Cleopatra joins him.[560]
  60. ↑ Theobald envisaged the opening scene of The Comedy of Errors taking place in a formal chamber of the Duke's palace. Capell imagined it being in a public place.[570]
  61. ↑ Dyce located this scene at the Mart.[573]
  62. ↑ The Arden edition of The Comedy of Errors places these two scenes "presumably" at the mart.[577]
  63. ↑ Pope placed the opening scene of Coriolanus on "a street in Rome", and it must be an outdoor public place.[579]
  64. ↑ For consistency, this table calls the title character "Coriolanus" even in the early scenes before he attains that title
  65. ↑ In the Oxford Complete Works (which is the source for act and scene numbers in this table) scenes 4 and 5 are separate scenes. In Peter Holland's 3rd series Arden edition (which is the source for most other information about Coriolanus on this page) they are one scene. Accordingly scenes 6 to 11 in Oxford (and in this table) are scenes 5 to 10 in Arden.[583][584]
  66. ↑ Some editors including Capell place this scene inside Corioli, although it could equally be outside the walls.[585]
  67. ↑ Pope set this scene at the Volscian camp, but it only needs to be somewhere outside the city.[587]
  68. ↑ Capell described the setting as "a public place".[588]
  69. 1 2 3 Peter Holland, referring to Shakespeare's plays set in Ancient Rome, says: "Shakespeare appears to have assumed that the Capitol was the seat of the Senate but it was properly, to be pedantic, the temple of Jupiter on the Capitoline Hill while the Senate met near the Forum."[318][319]
  70. ↑ Rowe placed this scene at "A publick street in Rome"[591]
  71. ↑ "Presumably", according to Peter Holland.[592]
  72. ↑ Coriolanus' farewell to Rome has been thought to happen at the gates (Pope) or outside the walls (Rowe).[594]
  73. ↑ This scene must occur in a street or other outdoor public place[595]
  74. ↑ This scene occurs in an outdoor public place[600]
  75. ↑ This scene occurs in an outdoor public place[602]
  76. ↑ Peter Holland says the scene is "effectively continuous with 5.2" although Capell's location of the scene at Coriolanus' tent has been influential upon paintings of the scene, and theatrical staging.[604]
  77. ↑ This scene occurs in an outdoor public place[605]
  78. ↑ The very short Scene 5 may be continuous with scene 4. Dyce was the first editor to make the procession of the ladies' returning to Rome a separate scene, and located it "near the gate".[606]
  79. 1 2 3 4 5 6 7 The location of Cymbeline's court, other than being in Britain in the Roman era, is not otherwise specified by Shakespeare. The historical Cymbeline ruled the Catuvellauni tribe, and his seat of government was in Camulodunum which is modern-day Colchester.[612]
  80. 1 2 3 4 All scenes in Wales in Cymbeline appear to be in the vicinity of Milford Haven, although there is no scene set specifically in the town.
  81. ↑ This is an external scene, so set somewhere in the countryside.[618]
  82. ↑ A public place in Rome. Valerie Wayne argues that this is the only scene of Cymbeline set in ancient Rome: the other Roman scenes in the play being set, anachronistically, in Renaissance Italy.[621]
  83. 1 2 3 4 5 Valerie Wayne's Arden edition of Cymbeline (which is the source of most information about the play in this article) has one scene, act 5 Scene 2, which the Oxford Complete Works (which is the source for all act and scene numbers in this table) presents as three separate scenes: act 5 scenes 2, 3 and 4. Conversely, the Arden has two scenes, act 5 scenes 3 and 4 which the Oxford presents as one: act 5 scene 5. Following those, Arden's scene 5 matches Oxford's scene 6 and is the play's final scene.
  84. ↑ Valerie Wayne argues that the action is continuous and that these two episodes comprise one scene. The jailer, as was common in early modern warfare, would be holding Posthumus prisoner, shackled, on the field of battle itself.[628]
  85. ↑ The play-within-a-play The Murder of Gonzago, also known as The Mousetrap, is set in Vienna in present-day Austria.[637][136][234]
  86. ↑ A "closet" (as distinct from a "chamber") signifies a private living room, not a bedroom.[639]
  87. ↑ The action of act 4 scene 1 of Hamlet appears continuous with act 3 scene 4, and has led scholars to doubt whether they should be designated as separate scenes: although Claudius' reference to "his mother's closet"[641] suggests that the action may no longer be set there.[640]
  88. ↑ This scene may take place at the palace or at Horatio's lodgings.[645]
  89. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 Where Shakespeare sets a scene at the English Court without specifying the location, this table places it at "London(?)" since most possible sites were in London: although the location of Richmond Palace was not in London at the time, and Windsor Castle never has been. See "English Court" under more-specific settings.
  90. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 See "English Court" under more-specific settings.
  91. ↑ Editors have placed this scene at a tavern, at the prince's home, or at the royal palace.[648]
  92. ↑ Some editors have located act 1 scene 3 of Henry IV, Part 1 at Windsor, on the evidence of 1.1.102-3: "On Wednesday next our council we will hold at Windsor."[649]
  93. 1 2 3 4 The Oxford Complete Works (which is the source for act and scene divisions in this table) divides the Gad's Hill episode into two scenes (act 2 scenes 2 and 3) while the Arden edition (which is the source for most other information about the play) treats it as one (scene 2). Accordingly scenes 4 and 5 in Oxford, and in this table, are scenes 3 and 4 in the Arden.
  94. ↑ Gad's Hill - a notorious spot for highway robbery at the time the play is set, is now part of Higham, in Kent, England.[392][394]
  95. ↑ Historically, Hotspur's home was at Warkworth Castle in Northumberland, England.[263]
  96. 1 2 3 4 5 6 7 The Tavern scenes in Eastcheap are often said to occur at The Boar's Head, after a real tavern which used to be situated there. However that name is never used by Shakespeare.[650]
  97. ↑ Although Shakespeare gives no location for this court scene, his source, Holinshed, places it at Westminster.[651]
  98. ↑ There is no historical basis for the scene of a meeting between the Archbishop of York and Sir Michael, who has not been identified with any historical figure. The scene may be set at the palace of the Archbishop of York.[655]
  99. ↑ The whole of act 5 is set in the vicinity of Shrewsbury, and dramatizes the Battle of Shrewsbury[656]
  100. ↑ The closing scene of Henry IV, Part 1 takes place at the battlefield or at the King's camp nearby to it[659]
  101. ↑ The Induction of Henry IV Part 2 introduces "this worm-eaten hole of ragged stone" which is the Earl of Northumberland's home.
  102. 1 2 Historically, the Earl of Northumberland's home was at Warkworth Castle.[264]
  103. ↑ The scene is a public street, usually thought to be in Eastcheap, where Mistress Quickly's tavern is located.[661]
  104. ↑ This scene among the rebels is unhistorical and is given no particular location by Shakespeare. Its location is hinted at by Holinshed as being at the palace of the Archbishop of York.[662][663]
  105. ↑ The scene is a public street in Eastcheap, where Mistress Quickly's tavern is located.[664]
  106. ↑ This scene has no location. It must be private enough for Hal and Poins to have a private conversation yet public enough to spot the approach of Bardolph. Editors have often set it at the Prince's lodgings in London.[665][666]
  107. 1 2 3 No particular town or city is specified for the scenes in Gloucestershire in Henry IV, Part 2[671]
  108. ↑ Inconsistently, the Jerusalem Chamber, where the king collapses and later dies, is in fact in Westminster Abbey.[346][672]
  109. ↑ The final scene of Henry IV, Part 2 is unhistorical, and is set in the street where the coronation procession of Henry V passes by.[291]
  110. 1 2 Gary Taylor comments that act 2 scenes 1 and 3 of Henry V "are often called the Eastcheap scenes, from the location of the tavern in 1 Henry IV: in fact both seem to be unlocalized street scenes."
  111. 1 2 3 See "French Court" under more-specific settings.
  112. ↑ Henry's army is on the march from Harfleur towards Calais. The bridge which is referred to often in this scene, but is not the setting of it, was, historically, across the river Ternoise at Blangy.[108]
  113. 1 2 3 4 5 Henry V dramatizes the Battle of Agincourt.[484][485]
  114. ↑ This scene occurs in France in the aftermath of the battle at Agincourt.[679]
  115. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 The scene numbers in the Oxford Complete Works (the source for all act and scene numbers in this table) do not match closely with Edward Burns' Arden edition of Henry VI, Part 1 (the source for most other information about the play in this table). They correlate as follows (Arden in bold, Oxford and this table in plain text):
    Act 1:
    Scene 1: Scene 1
    Scene 2 lines 1-21: Scene 2
    Scene 2 lines 22-150: scene 3
    Scene 3: Scene 4
    Scene 4 lines 1-21: Scene 5
    Scene 4 lines 22-110: Scene 6
    Scene 5 lines 1-39: Scene 7
    Scene 5 lines 40-70: Scene 8
    Act 2 has no discrepancies
    Act 3:
    Scene 1: Scene 1
    Scene 2 lines 1-16: Scene 2
    Scene 2 lines 17-34: Scene 3
    Scene 2 lines 35-39: Scene 4
    Scene 2 lines 40-112: Scene 5
    Scene 2 lines 113-135: Scene 6
    Scene 3: Scene 7
    Scene 4: Scene 8
    Act 4:
    Scene 1: Scene 1
    Scene 2: Scene 2
    Scene 3 lines 1-53: Scene 3
    Scene 3 lines 54-99: Scene 4
    Scene 4 lines 1-55: Scene 5
    Scene 4 lines 56-112: Scene 6
    Scene 4 lines 113-208: Scene 7
    Act 5:
    Scene 1: Scene 1
    Scene 2 lines 1-21: Scene 2
    Scene 2 lines 22-50: Scene 3
    Scene 2 lines 51-65: Scene 4
    Scene 2 lines 66-216: Scene 5
    Scene 3: Scene 6
    Scene 4: Scene 7
  116. ↑ In the Orleans scenes of Henry VI, Part 1 the staging envisaged by the authors seems to have been that the theatre's tiring house represents the walls of the town, with the space above representing the top of the wall and its turrets, and the main stage representing the area outside the gates, where most of the fighting occurs.[683]
  117. ↑ The parts of this scene between the gunner and his boy must either be staged with a gun, or else a gun is to be imagined just offstage. The conversation between Salisbury and Talbot happens at the top of a turret.[686][687]
  118. 1 2 No particular town or city in Auvergne is specified for this scene, which is wholly unhistorical[692]
  119. ↑ Edward Burns mentions the conflation of a third historical figure, also, Mortimer who is a character in Shakespeare's Henry IV, Part 1[693]
  120. ↑ The scene between the Duke of York and his goaled uncle Edmund Mortimer is unhistorical. To an extent the "Edmund Mortimer" in this scene is a conflation of the historical persons Edmund Mortimer, 5th Earl of March, and his cousin Sir John Mortimer.[do] John died imprisoned at the Tower of London, which may be the setting imagined for this scene.[694][695]
  121. ↑ Like the equivalent scenes set at Orleans earlier in the play, the authors appear to have in mind the tiring house representing the walls of Rouen, "above" representing the top of the city walls, and the main stage representing the area outside the city.
  122. ↑ This scene - in which Joan persuades the Duke of Burgundy to change sides - is unhistoric, and is given no location. In history, Burgundy's change of sides happened four years after Joan's death.[700][701]
  123. ↑ The second of these two scenes set in Paris is not given any more specific location in the text, but contains the coronation of Henry VI, which in history happened at Notre Dame.[149][702]
  124. ↑ The scenes dramatizing the failure of York and of Somerset to support Talbot's army, each blaming the other for it, are unhistorical and are given no particular location.[704]
  125. 1 2 Shakespeare gives no location to the scenes surrounding the capture and death of Joan, which in history happened respectively at Compiègne and at Rouen; nor to the capture of Margaret by Suffolk, which is unhistorical.[708][709]
  126. ↑ Neither Shakespeare's text, nor either of his sources Hall and Holinshed, give an indication of the location of this scene, although most editors since Edward Capell have placed it at Gloucester's house or its garden.[713]
  127. ↑ This scene has no more specific setting than St Albans: but is an external scene involving hawking.
  128. ↑ This scene has been placed in various places by editors, and there is no single setting that would be correct historically. It contains the trial of Eleanor Cobham and her confederates, which historically happened in separate places: Eleanor at St Stephen's Chapel and the others at the Guildhall. Also the second half of the scene - the conflict between Peter and Horner - occurred at Smithfield.[716]
  129. ↑ Although the location is not mentioned in Shakespeare's text, the parliament dramatized in act 3 scene 1 of Henry VI, Part 2 happened at the Abbey at Bury St Edmunds, where Cardinal Beaufort's home was, also.[718][719]
  130. ↑ In history, Cardinal Beaufort died at Wolvesey Palace.[721]
  131. ↑ Capell placed these scenes at Blackheath, in London, although some parts of the history depicted happened at Sevenoaks in Kent.[723]
  132. ↑ This scene can be located in Cannon Street, London, by its reference to the London Stone in its opening sentence.[724]
  133. 1 2 3 In the Oxford complete works (which is the source for act and scene numbers in this table) Henry VI, Part 2 has one scene, act 4 scene 7, where Ronald Knowles' Arden edition (the source of most other information about the play in this table) has two scenes numbered 7 and 8. Accordingly scenes 8 and 9 in the Oxford, and this table, are 9 and 10 in the Arden.
  134. ↑ The Oxford complete works (and therefore this table) shows this as one scene but other editions divide it into two with different locations: the first at Smithfield, the other in Southwark.[725]
  135. ↑ Act 5 scene 1 of Henry VI, Part 2 is, according to Edmond Malone, set somewhere on the route between Dartford and Blackheath.[729] Much of the action is unhistorical or is telescoped, but it does, at least in part, represent the historical encounter between York and Henry at Blackheath in March 1452.[730]
  136. 1 2 3 4 From the end of act 5 scene 1 of Henry VI, Part 2, the Oxford Complete Works (which is the source for act and scene numbers in this table) presents the text in a different order from Ronald Knowles' Arden edition (which is the source for most other information about the play). They align as follows, in the order of the Oxford, with the Oxford (and therefore this table) in bold text and the Arden in plain text:
    Scene 2: scene 2 lines 66-71
    Scene 3: scene 2 lines 1-65
    Scene 4: scene 2 lines 72-90
    Scene 5 lines 5-38: scene 3
  137. ↑ The last act of Henry VI, Part 2 dramatizes the First Battle of St Albans.[487][486]
  138. ↑ Historically, York's castle was Sandal Castle near Wakefield in Yorkshire[266][732]
  139. ↑ Act 3 scene 1 of Henry VI, Part 3 is set in the countryside of England, where Henry has come, alone, to visit his former territories from Berwick[739] which, at the time in which the play is set, was in Scotland.[87] The scene is unhistorical, and in history the disguised king was recognised and captured while dining at Waddington Hall in Ribblesdale.[740]
  140. ↑ Act 3 scene 3 of Henry VI, Part 3 telescopes events which actually occurred in the years 1461 to 1470. No specific location for the French court is given in the text.[389][741]
  141. ↑ The location of the scene is not specified other than the stage direction indicating it is "in England"[742] and cannot be located by reference to the historical record since it telescopes several events of 1469 to 1470.[743]
  142. 1 2 3 4 5 6 7 8 The Oxford Complete Works, which is the source for all act an scene numbers in this table, has two scenes - act 4 scenes 3 and 4 - which Cox and Rasmussen's Arden edition, the source for most other information about the play in this table, presents as one, numbered 3. Similarly, at the end of the same act the Oxford has two scenes, numbered 9 and 10, where the Arden has one, numbered 8. It follows that scenes 5, 6, 7 and 8 in the Oxford are numbered 4, 5, 6 and 7 in the Arden.
  143. ↑ See "Park" under less-specific settings above.
  144. ↑ See Battle of Barnet.
  145. ↑ See Battle of Tewkesbury.
  146. ↑ Although not mentioned by name in the text, this scene is imagined as being at York Place (See "York Place" under more-specific settings above).[456]
  147. ↑ See "Blackfriars" under more-specific settings above.
  148. ↑ These scenes are set at public places in Rome: Daniell has scene 1 "a street" (following Theobald), scene 2 " a public place" (following Capell) and scene 3 "a street" (also following Capell).[756]
  149. ↑ David Daniell, whose Arden edition of Julius Caesar is the source for most information about the play in this table, has two scenes, act 4 scenes 2 and 3, where the Oxford Complete Works, the source of all act and scene numbers in the table, has just one, act 4 scene 2. The division comes after 4.2.52 (following Pope) dividing the scene into a sequence outside Brutus' tent followed by a sequence inside it.[763]
  150. ↑ See Battle of Philippi.
  151. 1 2 The Oxford Complete Works (which is the source for all act and scene numbers in this table) has two scenes - act 2 scene 2 and act 3 scene 1 - which Lander and Tobin's Arden edition (the source for most other information about King John in this table) presents as one scene, act 3 scene 1. The break is after line 74. These editions come back into line with one another from act 3 scene 2 onwards to the end of the play.
  152. 1 2 The location of this castle is not specified other than being in England. See "Castle" under less-specific settings above.
  153. 1 2 Historically it was not Swinstead Abbey but Swineshead Abbey that was visited by John.[432] See "Swinstead Abbey" under more-specific settings above.
  154. ↑ In the case of King Lear, there are two versions of the play in The Oxford Shakespeare second edition. The act and scene divisions in this article are taken from "The Tragedy of King Lear: The Folio Text (1610)" at Jowett et. al. (2005) pp. 1153-1184.
  155. ↑ Apart from being set in Ancient Britain, until the later scenes set in the vicinity of Dover, King Lear does not give any geographical location for most of its action.[777] Two characters whose homes are settings - the Duke of Albany and the Earl of Gloucester - are named after places, but this table does not assume their homes are in those places.
  156. 1 2 Kenneth Muir treats Edgar's speech beginning "I heard myself proclaimed..."[782] as a separate scene numbered 3, which he sets in "a Wood".[783]
  157. ↑ One of the sources used for this table, Muir[506] divides the scene which is Act 2 scene 2 of this table into three scenes, numbered 2, 3 and 4.[ez]
  158. 1 2 As Stanley Wells puts it: "The practice going back to Rowe (1709), of heading each scene with a statement of its supposed location ... has slowly been abandoned but still influences thinking about the play: it is common to speak of the heath scenes even though the precise word "heath" occurs nowhere in the text"[792]
  159. ↑ Theobald set the scene at "a chamber in a farmhouse adjoining the castle" and Capell at "a room in some of the outbuildings of the castle".[789]
  160. 1 2 3 4 5 The Oxford Complete Works presents two versions of King Lear: one based on the Quarto of 1608 (at pp. 909-941) and one based on the Folio of 1623 (at pp. 1153-1184). All act and scene numbers for King Lear in this table are taken from the Folio version of the play in the Oxford Complete Works. However, there is one scene (in which Kent converses with an unnamed gentleman) which appears only in the Quarto. This scene is numbered 17 in the Oxford (which presents the Quarto version without act divisions) at page 932. In Kenneth Muir's and R A Foakes' Arden versions of the play, which are the source of most other information about the play in this table, the Quarto-only scene is act 4 scene 3: accordingly the scenes which are act 4 scenes 3 to 6 in the Oxford, and this table, are scenes 4 to 7 in the Arden editions.[794]
  161. ↑ The later scenes of King Lear are set in the vicinity of Dover, although there is no scene explicitly set in the town.
  162. ↑ Apart from being set in Ancient Britain, until the later scenes set in the vicinity of Dover, King Lear does not give any geographical location for most of its action.[777] Two characters whose homes are settings - the Duke of Albany and the Earl of Gloucester - are named after places, but this table does not assume their homes are in those places.
  163. ↑ Capell placed the scene at Gloucester's castle.[796]
  164. ↑ The later scenes of King Lear are set in the vicinity of Dover, although there is no scene explicitly set in the town.
  165. ↑ No particular place within Navarre (which straddled the present-day border between France and Spain) is mentioned in the text. In history, at the time of the events thought to have influenced the story, the court of the Kingdom of Navarre was situated at Nérac, now in southwestern France.[802]
  166. ↑ The quarto and folio versions of Love's Labour's Lost give no indications of the setting of each individual scene, and neither do the scholarly editions used to source information on this page.[510][803][804][805] R. W. David places the action of the whole play at "The King of Navarre's Park."[806]
  167. ↑ Banquo and Macbeth are on their way to rendezvous with the king at Forres,[807] which was the royal seat, and this led Theobald and Capell to conclude that the scene was set there. Kenneth Muir sets the scene at "a camp".[808]
  168. ↑ Most editors have followed Theobald in placing the scene between Ross and the Old Man, and then Macduff, outside Macbeth's castle.[814]
  169. ↑ For examples see:
    † Macbeth (2010 film)
    † the screen versions directed by Jeremy Freeston, Michael Bogdanov and Gregory Doran,
    † or, for the equivalent in a broader adaptation, Joe MacBeth.
  170. ↑ For examples see:
    † Macbeth (1971 film)[816]
    † Macbeth (2006 film).
  171. 1 2 3 4 The geographical location of Macbeth's castle after his accession is not specified in the text. Kenneth Muir places it at Forres,[815] where Duncan's seat is situated in the first act. Stage and film productions frequently place it in the same setting as his castle in the first two acts, therefore impliedly at Inverness,[fm] or alternatively at an imagined Dunsinane.[816][fn]
  172. ↑ Muir places this scene at "the heath" where we previously met the witches.[817]
  173. ↑ Most editors have followed Rowe in setting this scene in "a cave". Kenneth Muir sets it at "a house in Forres", following Shakespeare's source Holinshed.[818]
  174. ↑ This scene in England is usually assumed to take place at the court of Edward the Confessor[820][84]
  175. ↑ The characters in this scene are on a march towards Birnam Wood.[822]
  176. ↑ Explained further both in Brooke[830] and Clark & Mason.[831]
  177. 1 2 3 4 5 All sources used on this page agree upon the act and scene divisions in Macbeth as far as the start of act 5 scene 7. From that point onwards, Brooke[827] has just one scene, numbered 7, covering the whole action of the final battle through to the end of the play. The Oxford Complete Works (which is the source for act and scene numbers in this table) divides the same action into five scenes, numbered 7 to 11. Muir[828] and Clark & Mason[829] agree with one another in dividing the action into three scenes: scene 7 correlating with Oxford's 7, 8 and 9; scene 8 correlating with Oxford's 10; then scene 9 correlating with Oxford's 11.[ft]
  178. ↑ Some editors place some of the action of these scenes inside the castle.[830][832][833]
  179. ↑ Most editors had placed this scene at the Duke's palace until Mary Lascelles writing in 1953 pointed out inconsistencies between that location and the dialogue of the scene[836]
  180. ↑ Rowe placed this scene in "a street". Lever has "a public place".[837]
  181. ↑ "Courtroom" is the location in Lever, although Rowe located this scene at "the Palace" and Capell placed it at "a hall in Angelo's house".[841]
  182. ↑ One of the sources used for this table, J W Lever's second series Arden edition, divides Act 3 into two scenes, unlike all other sources used which have just one. The break follows Isabella's exit, before Elbow enters with Pompey.[845][846]
  183. ↑ A "moated grange" is the home of Mariana.[848][849]
  184. ↑ Rowe placed this scene at "the Palace", and Capell at "Angelo's house".[851]
  185. ↑ Lever places this scene at "a Friar's cell", Rowe at "fields without the town" and Arthur Quiller-Couch & J. Dover Wilson at "a consecrated fount, a league below the city"[852][853]
  186. ↑ Lewis Theobald placed this scene at "a street in Venice" and J. Dover Wilson "on a quay in Venice". John Drakakis notes that some directors have preferred interior settings, including a café and a cabaret.[856]
  187. ↑ This scene is set in a public place, sometimes outside Shylock's house.[858]
  188. ↑ This is another scene set in a public place, sometimes outside Shylock's house.[860]
  189. ↑ Editors have disagreed as to whether this scene is set inside Shylock's house or is a continuation of the previous scene and is set outside it.[861]
  190. ↑ Lewis Theobald and J. Dover Wilson place this scene in a street in Venice.[862]
  191. ↑ This is another scene where editors have disagreed whether the scene is located inside or outside the house, and directors have set it in both ways.[863]
  192. ↑ Edward Capell places this scene in "a street".[865]
  193. ↑ Lewis Theobald set this scene in "a street" and J. Dover Wilson "before Shylock's house".[867]
  194. ↑ Another scene which Lewis Theobald set at "a street in Venice" and J. Dover Wilson at "the street before Shylock's house".[869]
  195. ↑ Most editors have followed Edward Capell in setting this scene in a street outside the court.[872]
  196. 1 2 Although not geographically located, except that one of them must be in the direction of Frogmore, the settings of the two places at which the duelists have been appointed to fight are on opposite sides of the town from one another.[878]
  197. ↑ The characters in this scene are on their way to Ford's house.[879]
  198. ↑ Giorgio Melchiori places this scene on a street, on the way to Sir Hugh Evans' schoolroom[882]
  199. ↑ Melchiori suggests these scenes "presumably" depict their characters on their way to Herne's Oak.[887]
  200. ↑ Possibly set in the "sawpit" mentioned in act 4 scene 4[888][889]
  201. ↑ Some editors and directors have presented the opening scene as a public spectacle, others as private conversations.[890]
  202. ↑ Sukanta Chaudhuri says the scene "presumably" takes place at the home of one of the mechanicals, most likely Peter Quince, which is where it was placed by Capell.[891]
  203. ↑ This may be the same setting as act 1 scene 2, therefore possibly Peter Quince's house.[893]
  204. 1 2 3 The Oxford Complete Works, which is the source for all act and scene divisions in this table, presents the last act of A Midsummer Night's Dream as two scenes and an Epilogue, where Sukanta Chaudhuri's Arden edition, the source for most information about the play in this table, has just one scene. The scene break is after line 360 of the Arden edition, immediately before Puck's entrance with a broom, and the epilogue begins after line 412 of the Arden edition, before Puck's final speech beginning "If we shadows have offended...".
  205. ↑ No particular town or city in Cyprus is specified.
  206. ↑ Bate & Rasmussen place this scene at "the citadel".[912]
  207. ↑ Bate & Rasmussen place this scene at the "governor's residence/citadel".[913]
  208. ↑ Bate & Rasmussen place this scene "presumably outside the citadel".[915]
  209. ↑ Honigmann points out that the scene appears to begin in an indoor private place, possibly Desdemona's bedroom, but to end in a public outdoor place.[916] Bate & Rasmussen place this scene within the citadel.[917]
  210. ↑ Honigmann points out that the scene appears to begin in a public place but to end in a private place where Desdemona begins to prepare for bed.[918]
  211. ↑ In the Oxford Shakespeare Complete Works (2nd edition), which is the source for all act and scene numbers in the table, there are no act divisions for Pericles. This does not accord with Suzanne Gossett's Arden Shakespeare (third series) edition, which is the source for most information about Pericles on this page, and which does have act divisions. The two correlate as follows (Arden in bold, Oxford in plain text):
    Act 1 Chorus: Scene 1 Lines 1-42
    Act 1 Scene 1: Scene 1 Lines 43-213
    Act 1 Scene 2: Scene 2
    Act 1 Scene 3: Scene 3
    Act 1 Scene 4: Scene 4
    Act 2 Chorus: Scene 5 Lines 1-40
    Act 2 Scene 1: Scene 5 Lines 41-209
    Act 2 Scene 2: Scene 6
    Act 2 Scene 3: Scene 7
    Act 2 Scene 4: Scene 8
    (Not included): Scene 8a
    Act 2 Scene 5: Scene 9
    Act 3 Chorus: Scene 10
    Act 3 Scene 1: Scene 11
    Act 3 Scene 2: Scene 12
    Act 3 Scene 3: Scene 13
    Act 3 Scene 4: Scene 14
    Act 4 Chorus: Scene 15 Lines 1-52
    Act 4 Scene 1: Scene 15 Lines 53-151
    Act 4 Scene 2: Scene 16
    Act 4 Scene 3: Scene 17
    Act 4 Scene 4 (Chorus): Scene 18
    Act 4 Scene 5: Scene 19
    Act 5 Chorus: Scene 20
    Act 5 Scene 1: Scene 21
    Act 5 Scene 2 (Chorus): Scene 22 Lines 1-20
    Act 5 Scene 3: Scene 22 Lines 21-107
    Epilogue: Scene 22 Lines 108-125.[922][923]
  212. ↑ Gower's chorus (comprising lines 1-42 of this scene) was placed "before the palace" by Malone to which F. D. Hoeniger added "with heads displayed above the entrance".[17] The remainder of the scene is at Antiochus' palace, although it is not specified whether it is an internal scene (as specified by Malone) or an external scene (as preferred by Suzanne Gossett).[924]
  213. ↑ Malone placed this scene at "a room in the governor's house". Many productions have preferred to set it in a public place.[208]
  214. ↑ The opening 40 lines are Gower's chorus, which carry the action from Tarsus and out to sea. The scene itself is a seacoast, where Pericles lands having been shipwrecked.[927]
  215. ↑ This scene is Gower's chorus, and includes a dumbshow set at Pentapolis, before moving the action out to sea.[931]
  216. ↑ The first 52 lines of this scene are Gower's chorus, taking the audience to Tyre, then Ephesus, then Tarsus. It also indicates the passage of time during which Marina grows up. The precise location of the rest of the scene, at Tarsus, is not specified other than that it must be an open place near the sea. The grave referred to by Marina need not necessarily be onstage.[936][937]
  217. ↑ This scene is entirely Gower's chorus. Its only locations are a dumbshow, and Marina's monument, both at Tarsus.[940]
  218. ↑ This scene is a chorus by Gower. The events it describes occur at Mytilene.[942]
  219. ↑ The first 20 lines of this scene are a chorus, and the last 18 lines an epilogue, both spoken by Gower.[944] The intervening scene is set at Diana's Temple at Ephesus.[329]
  220. ↑ The scene between John of Gaunt and the Duchess of Gloucester has no precedent in Shakespeare's sources. It is usually assumed to take place either at Ely House or at Gaunt's London home.[945]
  221. ↑ Historically, Queen Isabel resided at Windsor Castle after Richard's departure for Ireland.[947]
  222. ↑ This scene dramatizes a march through Gloucestershire, ending outside Berkeley Castle.
  223. ↑ According to Shakespeare's source Holinshed, the events dramatized in this scene happened at Conwy.[240][948]
  224. ↑ The castle which Shakespeare calls "Barkloughly" in the text of this scene is actually Harlech Castle.[949]
  225. ↑ The scene between the queen and her ladies and the gardeners is unhistorical. Edward Capell placed the scene at "The Duke of York's garden".[951][952]
  226. ↑ This scene appears to be set at the home of the Duke of York. That may have been Langley or at one of his London properties.[953]
  227. ↑ To the extent that this scene is historical (and the role of the Duchess of York is not) it is based on Holinshed, in whose chronicle it occurred at Windsor Castle.[954]
  228. ↑ Charles Forker says that the closing scene of Richard II is "probably" set at Windsor Castle.[955]
  229. ↑ Editors have not agreed about the likely setting of the opening scene of Richard III. Pope set the scene at the English court, Capell in a street in London.[956]
  230. ↑ James Siemon cites Lewis Theobald in setting this scene in "a street". Lady Anne is travelling with the body of her late father-in-law Henry VI towards Chertsey Abbey for his intended interment.[957][958][959][960]
  231. ↑ Theobald set this scene at "a street near the court".[962]
  232. ↑ Capell sets this scene in "a street".[964]
  233. ↑ Lewis Theobald set this scene on "the Tower walls"[968]
  234. ↑ Capell sets this scene in "a street"[969]
  235. ↑ Not to be confused with Barnard Castle
  236. ↑ Capell set act 4 scene 4 of Richard III "Before the palace".[972]
  237. ↑ Historically, Stanley's family residence was in north-east England.[973]
  238. ↑ The scenes at Bosworth Field include those set in the tents of the two leaders, including their dream sequence.
  239. 1 2 3 4 5 6 All sources used in this table are in agreement about the act and scene divisions in Richard III until Act V scene 3. From that point onwards, both Arden editions have one scene, numbered 3, where the Oxford Complete Works (the source of act and scene numbers in this table) has four, numbered 3 to 6. The Oxford scene 7 therefore correlates with the Ardens' scene 4, and the Oxford's scene 8 with the Ardens' scene 5.
  240. ↑ Gibbons cites Rowe.[979]
  241. ↑ Gibbons cites Capell.[981]
  242. ↑ Gibbons cites Capell.[983]
  243. ↑ Gibbons cites Theobald.[985]
  244. ↑ Gibbons cites Theobald.[987]
  245. 1 2 3 4 5 The Oxford Complete Works, which is the source for all scene divisions in this table, treats the sequence outside the orchard as the first part of the same scene which continues in the orchard, while, according to Renė Weis "most editors mark a new scene"[988] and, of the sources used on this page, Weis[989] and Gibbons[990] (the third and second series Arden editions, respectively) do so. This scene break follows 2.1.42, immediately before Romeo's line "He jests at scars that never felt a wound". Accordingly, Act 2 scenes 2 to 5 in the Oxford Complete Works, and this table, are scenes 3 to 6 in the Arden editions.
  246. ↑ All stage directions in the quarto of Romeo and Juliet indicate a "window" not a "balcony", although a balcony is traditional in performance[988][991]
  247. ↑ Rowe set this scene at "a monastery", Capell at "fields near a convent", and Malone at "Friar Laurence's cell".[993] René Weis places it "in the herb garden of an abbey in Verona".[994]
  248. ↑ Capell placed this scene in "a street"[995]
  249. ↑ Alternatively, Rowe set this scene at "Capulet's house" and Capell in "Capulet's garden".[997]
  250. ↑ Gibbons cites Capell.[999]
  251. ↑ Gibbons cites Rowe.[1000]
  252. ↑ Alternatively, Rowe set this scene at "an apartment in Capulet's house" and Capell in "Capulet's garden".[1002]
  253. ↑ Gibbons cites Capell.[1004]
  254. ↑ Gibbons cites Capell.[1006]
  255. ↑ Gibbons cites Theobald.[1008]
  256. ↑ Gibbons cites Capell.[1010]
  257. ↑ Gibbons cites Capell.[1012]
  258. ↑ The Oxford Complete Works, which is the source for all scene numbers in this table, has one scene - act 4 scene 4 - where both Weis' and Gibbons' Arden editions have two, numbered 4 and 5. The scene break follows 4.4.27, such that the new scene begins with the Nurse's attempt to wake Juliet.
  259. ↑ Gibbons cites Rowe.[1014]
  260. ↑ From line 28 onwards the setting is Juliet's bedroom[iy][1015]
  261. ↑ This scene in Mantua is set outside the apothecary's closed shop.
  262. ↑ Gibbons cites Capell.[1020]
  263. ↑ The final scene involves action which occurs both inside and outside the monument, so that (in René Weis's words) "the choreographic demands of this scene are complex"[1021]
  264. ↑ Alexander Pope introduced the description of the opening scenes of The Taming of the Shrew as an "Induction".[1023]
  265. 1 2 The references to Burton Heath[1024] and Wincot[1025] suggest a Warwickshire setting.[1026]
  266. ↑ Hodgdon cites Capell.[145]
  267. ↑ Editors have not agreed whether act 2 of The Taming of the Shrew happens inside the house or in a public place outside it.[1034]
  268. 1 2 The Oxford Complete Works, which is the source for all act and scene numbers in this table, has two scenes for the events surrounding Kate and Petruchio's wedding, act 3 scenes 2 and 3, where the other sources used on this page have just one, numbered 2. The split follows 3.2.127, Baptista's line "I'll after him, and see the event of this."
  269. ↑ This must be a public space: Heilman places it "outside Baptitsta's house".[1037] Characters leave this scene to go into the church, and later return from it.
  270. 1 2 3 4 Petruchio is from Verona,[1038] although editors have generally followed Pope in setting this action at "Petruchio's Country House"[1039][1040]
  271. 1 2 3 The Oxford Complete Works, the source for all act and scene numbers in this table, has two separate scenes, act 4 scenes 4 and 5, where the other sources used in this table have just one, numbered 4. The break comes after line 4.4.71: Baptista's line "I follow you". Accordingly, scene 6 in this table, and the Oxford Complete Works, is scene 5 in the other sources cited.
  272. ↑ The stage direction "on a ship at sea" derives from Pope.[1045][1046] The ship is wrecked on a journey from Tunis to Naples and therefore in the Mediterranean Sea, near to the fictional island upon which the rest of the action takes place.[282]
  273. ↑ The Folio text describes the scene, slightly inaccurately, as "The Scene, an vn-inhabited Island" (sic). Pope called it "The Inchanted Isle" (sic). It is located in the Mediterranean Sea, since the King's ship is wrecked there on a journey from Tunis to Naples.[282]
  274. ↑ Most editors have placed this scene at or near "Prospero's cell" although Vaughan and Vaughan point out that it need not be, and suggest that "presumably Miranda and Prospero are standing on a point ... where they can see the ship 'at sea'."[282][1047]
  275. 1 2 3 4 The first editor to use "another part of the island" for the various unspecified locations of The Tempest was Alexander Pope.[1049][1048]
  276. ↑ Early editors have mostly followed Theobald in setting Ferdinand's log-bearing scene "before Prospero's cell" but Vaughan and Vaughan point out that it could equally occur elsewhere on the island.[1051][1052]
  277. ↑ Most editors have followed either Pope in setting these scenes in "Prospero's Cave" or Capell and Theobald in setting them "before Prospero's cell".[1055][1056] Vaughan and Vaughan do not specify a location.
  278. ↑ "The senator's home" derives from Capell although Rowe had set the scene as "a public place".[1058]
  279. 1 2 3 4 5 Jonathan Bate cites Samuel Johnson's view that the Folio's act break is misplaced, and follows that conclusion in the numbering of the scenes in Bate's third series Arden edition of the play. Accordingly, in his version, act 2 scene 1 becomes the end of act 1 scene 1, and his act 2 scenes 1 to 3 are equivalent to act 2 scenes 2 to 4 of this table and of all other sources used.[1074]
  280. ↑ The folio stage direction "aloft" indicates that the gallery of the playing house represented the senate house[1073]
  281. ↑ This lengthy scene encompasses several settings including the Capitol/Senate House[bq][jt] and the public place before it, and the tomb of the Andronici.[1073]
  282. ↑ Editors have had very different ideas for the setting of this scene, including "a forest", "a Lodge" and "before the Emperor's Palace"[1075]
  283. ↑ Lewis Theobald simply set this scene in "a street in Rome".[1078]
  284. ↑ Suggested settings have included "before Titus' house" and "Titus' garden".[1080]
  285. ↑ Theobald specified "the Palace".[1081]
  286. ↑ Jonathan Bate says this scene "is imagined to begin outside Titus' house and then to move inside it"[1085]
  287. 1 2 3 4 "Ilium" is the name of King Priam's palace in Troy.[1087] See "Ilium" under more-specific settings above.
  288. ↑ David Bevington describes the setting of the second scene of Troilus and Cressida as "fluid": it appears to begin either at Cressida's home or in a public place, and to develop somewhere that Cressida and Pandarus can look down, from above, on the troops returning from battle.[1088]
  289. 1 2 3 4 5 6 7 The Oxford Complete Works, which is the source for all act and scene numbers in this table, has seven scenes in Act 4 of Troilus and Cressida, where David Bevington's Arden edition, the source for most other information about the play in this table, has five. They correlate as follows, with the Oxford in bold text and the Arden in plain text, and with line numbers taken from the Arden:
    Scene 1: scene 1;
    Scene 2: scene 2 lines 1-75;
    Scene 3: scene 2 lines 76-110;
    Scene 4: scene 3;
    Scene 5: scene 4;
    Scene 6: scene 5 lines 1-117;
    Scene 7: scene 5 lines 118-293.
  290. ↑ No particular city or town within Illyria is mentioned.
  291. ↑ Rowe suggested "a street" as the setting for this scene, while Capell suggested "the sea-coast".[1109]
  292. ↑ This scene is sometimes called "the kitchen scene" due to the performance tradition of setting it in the kitchen of Olivia's house.[1111]
  293. ↑ Keir Elam points out the confusion regarding the location of this scene: it is apparently set in Olivia's "orchard"[1118] but the officers later refer to "a private brabble" "here in the streets".[1119] Elam concludes "Audiences do not notice such details".[1120]
  294. ↑ Rowe suggested "the street".[1121]
  295. ↑ Malvolio's confinement has been depicted in a variety of ways on stage.[1122]
  296. ↑ The only specific location of this scene is its proximity to a chantry.[1123]
  297. ↑ In William C. Carroll's words: "Were it not for the final word of the play's title, we might be hard-pressed to identify just which Italian city was home to Valentine, Proteus and Julia."[1125]
  298. ↑ Sylvan Barnet simply suggested "an open place".[1127]
  299. ↑ Some editors have suggested Proteus' father's house, others a public place.[1129]
  300. ↑ Arthur Quiller-Couch and John Dover Wilson suggested "On a seat beneath the trees".[1133]
  301. ↑ Sylvan Barnet has "a street".[1134]
  302. ↑ This scene appears to be set in Milan, and most editors have amended its opening line in the Folio, ending "...welcome to Padua",[1137] assuming this to be Shakespeare's mistake. Some performances have used the original line, treating it as a joke.[1138]
  303. ↑ This scene picks up the action of scene 4, therefore may be set at the Duke's palace[1139]
  304. ↑ Friar Patrick is not a character in The Two Gentlemen of Verona.
  305. ↑ In two of Shakespeare and Fletcher's sources, Boccaccio's Teseida and Chaucer's The Knight's Tale, this opening scene is set outside Athens, near the Temple of Clemency.[32] Eugene M. Waith locates the scene "near the temple at Athens in which Theseus and Hippolyta are to be married"[1150]
  306. ↑ The dialogue suggests that the ladies have accompanied Pirithous part of the way of his journey from Athens to meet with Theseus at Thebes.[1152][1153]
  307. ↑ This scene comprises Theseus' victory procession over the Thebans.
  308. ↑ This scene comprises the funeral processions of the three queens' deceased husbands.
  309. ↑ Eugene Waith places the scene "probably near the prison"[1159]
  310. ↑ The wording of the jailer's daughter's speech, with its parallel "I have brought ... I have sent", can be read that she has brought Palamon to the wood and that this short scene is therefore set there. Potter and Waith both prefer the interpretation that she has sent Palamon to the wood, so this scene occurs near the prison.[1161][1162][1163]
  311. 1 2 3 4 5 6 The Oxford Complete Works, which is the source for all act and scene numbers in this table, has three scenes, act 5 scenes 1 to 3, where the other sources used on this page, Eugene Waith's Oxford and Lois Potter's Arden editions, have just one, act 5 scene 1. The scene breaks are before lines 69 and 137 of the Arden edition. It follows that act 5 scenes 4 to 6 in the Oxford Complete Works, and this table, correlate with scenes 2 to 4 of the other editions.
  312. ↑ If Theseus has kept his word at 3.6.291-292 then this is the same place in the forest where Palamon and Arcite previously fought, but changed by the addition of temples to Mars, Venus and Diana: probably represented successively by a single altar in the original staging.[1169] In The Knight's Tale, the tournament takes place in an amphitheatre with an altar to each of the three gods.[1170]
  313. 1 2 3 No particular town or city within Sicilia or Bohemia is mentioned in The Winter's Tale.
  314. ↑ Theobald set the opening scene in "an antechamber"[1173]
  315. ↑ Editors are not agreed whither this scene is set in Leontes' court, in another public place, or in private.[1174]
  316. ↑ This scene is set in a private place - possibly the queen's chamber.[1175]
  317. ↑ Possibly Leontes' private chamber[1177]
  318. ↑ In this scene Cleomenes and Dion are travelling back to Leontes' court from Delphos.[1178]
  319. ↑ This short scene is a speech given by Time as chorus, who asks the audience to "Imagine me, gentle spectators, that I now may be in fair Bohemia..."[1181]
  320. ↑ John Pitcher places this scene at "probably" the Bohemian court.[1182]
  321. ↑ John Pitcher describes the setting as a back road in rural Bohemia.[1183]
  322. ↑ The location of this long scene is fluid, and appears to begin indoors although mostly set outdoors.[1184]
  323. ↑ John Pitcher adds "probably the audience chamber".[1185]
  324. ↑ The location is not further specified.[1186]

Footnotes

edit

References to works by Shakespeare are to The Oxford Shakespeare: The Complete Works Second Edition (i.e. Jowett, Montgomery, Taylor & Wells 2005). Under its numbering system Hamlet 3.1.58 means act 3, scene 1, line 58. In plays which it presents without act divisions, such as Pericles, 1.17 means scene 1 line 17. In the case of King Lear, which the Oxford Complete Works presents in two separate versions, references are to "The Tragedy of King Lear" (the Folio version) at pp.1153-1184. In Henry V, 0 in place of a scene number means the chorus to that act. "SD" references a stage direction. An "n" after a page number indicates a note on that page rather than its body text.

  1. ↑ Julius Caesar 3.2.74.
  2. ↑ Daniell 1998, pp. 252n, 374.
  3. ↑ Julius Caesar 3.1.230
  4. ↑ Julius Caesar 3.1.294-295.
  5. ↑ Antony and Cleopatra 3.7.50-52.
  6. 1 2 3 Wilders 1995, pp. 193n, 199n, 200n.
  7. ↑ Bevington 2005, pp. 179n, 184n, 185n.
  8. 1 2 Miola 2002, pp. 206, 209.
  9. ↑ Antony and Cleopatra 3.13.171-172.
  10. 1 2 Wilders 1995, pp. 90n, 95n, 106n, 119n, 146n, 179n, 185n, 208n, 211n, 225n, 226n, 230n, 232n, 235n, 237n, 240n, 241n, 245n, 247n, 248n, 252n, 54n, 263n, 270n, 275n.
  11. ↑ Bevington 2005, p. 188n.
  12. ↑ King John 2.1.1.
  13. ↑ Honigmann 1954, pp. 21SD, 54SD, 59SD, 74SD, 79SD.
  14. ↑ Lander & Tobin 2018, pp. 8–9, 164SD, 164n, 208n.
  15. ↑ Pericles 1.17-19.
  16. 1 2 3 4 Whitfield 2015, p. 22.
  17. 1 2 Gossett 2004, p. 171n.
  18. ↑ Coriolanus 4.4.1-2.
  19. ↑ Holland 2013, pp. 328n, 330n, 399n.
  20. ↑ Antony and Cleopatra 3.1.34-35.
  21. ↑ Antony and Cleopatra 3.6.64.
  22. 1 2 Wilders 1995, p. 182n.
  23. ↑ Bevington 2005, p. 170n.
  24. ↑ A Midsummer Night's Dream 1.1.11-12.
  25. ↑ A Midsummer Night's Dream 1.1.160-163.
  26. ↑ Bartels 2003, p. 152.
  27. ↑ Whitfield 2015, pp. 30, 34.
  28. ↑ Timon of Athens 2.2.17-18.
  29. ↑ Whitfield 2015, p. 30.
  30. ↑ Dawson & Minton 2008, pp. 159n, 264n, 271n.
  31. ↑ The Two Noble Kinsmen 221-222.
  32. 1 2 Potter 1997, p. 139n.
  33. ↑ Henry VI, Part 3 113-114.
  34. 1 2 3 4 Cox & Rasmussen 2001, p. 343n.
  35. ↑ The Merchant of Venice 1.1.161.
  36. ↑ The Merchant of Venice 3.4.84-85.
  37. 1 2 Bartels 2003, pp. 154–155.
  38. ↑ Drakakis 2010, pp. 188n, 222n, 272n, 289n, 319n, 325n, 367n.
  39. ↑ The Winter's Tale 3.3.1-2.
  40. 1 2 Whitfield 2015, pp. 94–96.
  41. ↑ Pitcher 2010, pp. 100–102, 235n, 247n, 249n, 259n.
  42. ↑ Henry VI, Part 1 4.2.1.
  43. ↑ Burns 2000, pp. 232n–233n.
  44. 1 2 3 4 5 Whitfield 2015, p. 169.
  45. ↑ Richard III 5.3.1
  46. 1 2 Siemon 2009, pp. 379n, 381n, 411n, 412n.
  47. ↑ Whitfield 2015, p. 174.
  48. 1 2 3 Saccio 2000, pp. 158, 183.
  49. ↑ Cymbeline 3.1.12-14.
  50. ↑ Wayne 2017, pp. 145n, 159n, 161n, 174n, 179n, 195n, 199n, 204n, 231n, 237n, 263n, 313n.
  51. ↑ Whitfield 2015, p. 135.
  52. ↑ King Lear 4.3.21.
  53. 1 2 Whitfield 2015, p. 133.
  54. ↑ Coriolanus 1.2.27.
  55. ↑ Coriolanus 115-117.
  56. ↑ Holland 2013, pp. 145-146n, 174n, 185n, 193n, 196n, 202n, 205n, 212n.
  57. ↑ Whitfield 2015, pp. 50–51.
  58. ↑ Richard II 198-199.
  59. 1 2 Forker 2002, p. 207n.
  60. 1 2 Norwich 1999, p. 113.
  61. 1 2 Saccio 2000, p. 25.
  62. ↑ Henry IV, Part 1 4.2.13.
  63. ↑ Henry IV, Part 1 4.2.1.
  64. ↑ Henry IV, Part 1 4.2.38-39.
  65. 1 2 Kastan 2002, p. 288n.
  66. ↑ Henry VI, Part 3 4.10.32.
  67. ↑ Cox & Rasmussen 2001, p. 333n-334n.
  68. ↑ Othello 2.1.213.
  69. 1 2 Whitfield 2015, p. 56.
  70. ↑ Thompson & Honigmann 2016, pp. 12, 21–22, 165n, 186n.
  71. ↑ King Lear 3.6.48-50.
  72. ↑ King Lear 4.1.54.
  73. ↑ Foakes 1997, pp. 317n, 321n, 326n, 357n.
  74. ↑ Hamlet 1.2.173.
  75. ↑ Whitfield 2015, p. 119.
  76. ↑ Berry 2016, pp. 1–2.
  77. ↑ Thompson & Taylor 2006, pp. 147n, 227n, 366n, 409n.
  78. ↑ The Taming of the Shrew Induction.2.16-17.
  79. ↑ The Taming of the Shrew Induction.2.20
  80. ↑ Hodgdon 2010, pp. 2, 139n, 150n.
  81. ↑ Macbeth 4.3.44-45.
  82. ↑ Muir 1984, p. 122.
  83. ↑ Brooke 1990, p. 72.
  84. 1 2 Clark & Mason 2015, p. 32.
  85. ↑ Henry VI, Part 3 2.5.128.
  86. ↑ Henry VI, Part 3 3.1.13-14.
  87. 1 2 Cox & Rasmussen 2001, p. 261n.
  88. ↑ Henry VI, Part 3 4.2.0SD
  89. ↑ Cox & Rasmussen 2001, pp. 305n, 307n.
  90. ↑ The Comedy of Errors 1.1.28-30.
  91. ↑ Berry 2016, pp. 41–42.
  92. 1 2 Cartwright 2017, pp. 49–51.
  93. ↑ Pericles 5.1.227.
  94. ↑ Gossett 2004, pp. 289n, 307n, 396n.
  95. ↑ Macbeth 2.4.36-37.
  96. ↑ Muir 1984, p. 117.
  97. ↑ All's Well That Ends Well 3.2.68-69.
  98. ↑ All's Well That Ends Well 5.3.125-128.
  99. ↑ Whitfield 2015, p. 116.
  100. ↑ Macbeth 1.3.37.
  101. ↑ Muir 1984, pp. 22, 72, 80, 86.
  102. ↑ Clark & Mason 2015, p. 29.
  103. ↑ As You Like It 1.1.133-134.
  104. 1 2 Oliver 1968, p. 11.
  105. 1 2 Whitfield 2015, pp. 113–114.
  106. 1 2 3 4 5 Dusinberre 2006, p. 48.
  107. ↑ Henry V 3.0.22-24.
  108. 1 2 Craik 1995, p. 231n.
  109. ↑ Taylor 1982, p. 146n.
  110. ↑ Henry V 3.0.26-27.
  111. ↑ Craik 1995, pp. 201n, 215n.
  112. ↑ Twelfth Night 1.2.1.
  113. 1 2 3 Whitfield 2015, pp. 98–99.
  114. ↑ Macbeth 1.4.41-42.
  115. ↑ Muir 1984, pp. 26, 33, 36, 45, 51, 58.
  116. 1 2 Clark & Mason 2015, p. 65.
  117. ↑ Cartwright 2017, p. 56.
  118. ↑ Knowles 1999, pp. 283n, 296n, 311n, 317n, 318n, 335n.
  119. ↑ Romeo and Juliet 3.3.166-168.
  120. ↑ Romeo and Juliet 5.1.66-67.
  121. ↑ Levenson 2000, p. 173n.
  122. ↑ All's Well That Ends Well 4.4.8-10.
  123. ↑ All's Well That Ends Well 4.5.80.
  124. ↑ Gossett & Wilcox 2019, p. 290n.
  125. ↑ Much Ado About Nothing 1.1.1-2.
  126. ↑ Whitfield 2015, p. 91.
  127. ↑ The Two Gentlemen of Verona 2.5.1.
  128. ↑ Whitfield 2015, p. 104-105.
  129. ↑ Evans 1964, pp. 58, 67, 75, 77, 82, 95, 102, 107, 109, 116, 117.
  130. ↑ Cymbeline 3.2.48-49.
  131. ↑ Wayne 2017, pp. 243n, 250n, 272n, 280n, 282n, 316n, 319n, 322n, 324n, 332n, 347n.
  132. ↑ Pericles 18.44-45.
  133. ↑ Whitfield 2015, pp. 22, 23.
  134. ↑ Gossett 2004, pp. 129, 323n, 346n.
  135. ↑ Love's Labour's Lost 2.1.90.
  136. 1 2 3 Whitfield 2015, p. 109.
  137. ↑ Kerrigan & Walton 2005, p. xxiv.
  138. ↑ Henry VI, Part 1 1.2.6.
  139. 1 2 Hattaway 1990, p. 75.
  140. ↑ Henry VI, Part 1 1.5.1
  141. 1 2 Burns 2000, pp. 13, 149n, 162n–163n, 168n–169n.
  142. ↑ The Taming of the Shrew 1.1.1-3.
  143. ↑ The Taming of the Shrew 1.2.74.
  144. ↑ Whitfield 2015, p. 103.
  145. 1 2 Hodgdon 2010, p. 159n.
  146. ↑ All's Well That Ends Well 1.2.22.
  147. 1 2 Whitfield 2015, p. 115.
  148. ↑ Henry VI, Part 1 4.1.3.
  149. 1 2 Burns 2000, p. 222n.
  150. ↑ Antony and Cleopatra 3.1.6-7.
  151. 1 2 3 Wilders 1995, p. 171n.
  152. 1 2 3 Bevington 2005, p. 162n.
  153. 1 2 3 Miola 2002, p. 207.
  154. ↑ Pericles 5.138-141.
  155. ↑ Whitfield 2015, pp. 22–23.
  156. 1 2 Gossett 2004, pp. 129, 222n.
  157. ↑ Julius Caesar 4.2.334-337.
  158. ↑ Julius Caesar 5.1.5-6.
  159. 1 2 Daniell 1998, pp. 155n, 298n, 306n, 307n, 314n, 316n.
  160. 1 2 Whitfield 2015, p. 50.
  161. ↑ Henry IV, Part 1 127-128.
  162. 1 2 3 Kastan 2002, p. 183n.
  163. ↑ Antony and Cleopatra 1.2.173-175.
  164. ↑ Wilders 1995, pp. 113n, 128n, 142n, 145n, 174n, 186n.
  165. 1 2 Miola 2002, pp. 206, 207.
  166. ↑ Coriolanus 2.1.42-44.
  167. ↑ Holland 2013, pp. 149n, 177n, 215n, 236n, 267n, 295n, 307n, 318n, 348n, 360n, 364n, 377n, 394n.
  168. ↑ Cymbeline 1.1.98-99.
  169. ↑ Cymbeline 3.7.0.SD.
  170. ↑ Wayne 2017, pp. 164n, 215n, 279n.
  171. ↑ Pitcher 2005, pp. 174n–175n.
  172. ↑ Julius Caesar 1.2.157-158.
  173. ↑ Julius Caesar 3.2.74.
  174. ↑ Daniell 1998, p. 155n.
  175. ↑ Titus Andronicus 1.1.70.
  176. ↑ Whitfield 2015, p. 45.
  177. ↑ Bate 2018, pp. 231n, 167n, 284n.
  178. ↑ Henry VI, Part 1 3.2.1.
  179. ↑ Burns 2000, p. 205n.
  180. ↑ Norwich 1999, p. 225-226.
  181. ↑ All's Well That Ends Well 1.2.18-19.
  182. ↑ All's Well That Ends Well 5.1.29-30.
  183. ↑ Gossett & Wilcox 2019, pp. 123n, 301n.
  184. ↑ Richard III 4.4.468-469.
  185. ↑ Siemon 2009, p. 377n.
  186. 1 2 Whitfield 2015, p. 173.
  187. ↑ Julius Caesar 4.2.28.
  188. ↑ Daniell 1998, pp. 155n, 274n, 277n.
  189. ↑ Macbeth 1.2.28.
  190. ↑ Muir 1984, p. 2.
  191. ↑ Whitfield 2015, pp. 137–141.
  192. ↑ Henry IV, Part 1 4.4.10-13.
  193. ↑ Henry IV, Part 2 1.1.11-12.
  194. 1 2 Kastan 2002, pp. 280n, 294n, 303n, 312n, 319n, 324n, 335n.
  195. 1 2 Whitfield 2015, pp. 162–163.
  196. ↑ The Winter's Tale 4.4.508-513.
  197. ↑ Pitcher 2010, pp. 99–100, 145n, 219n, 310n, 327n, 337n.
  198. ↑ Henry V 2.0.34-35.
  199. 1 2 Craik 1995, p. 167n.
  200. ↑ Taylor 1982, p. 130n.
  201. ↑ Henry VI, Part 2 1.2.56-57.
  202. ↑ Henry VI, Part 2 5.5.35.
  203. ↑ Knowles 1999, pp. 195n, 231n, 255n, 281n, 355n, 362n.
  204. ↑ Whitfield 2015, p. 170.
  205. ↑ King John 5.4.16-18.
  206. ↑ Honigmann 1954, pp. 123SD, 123n.
  207. ↑ Pericles 4.21.
  208. 1 2 Gossett 2004, p. 208n.
  209. ↑ Henry VI, Part 3 5.3.18-19.
  210. ↑ Cox & Rasmussen 2001, pp. 348n, 352n.
  211. ↑ Whitfield 2015, pp. 172–173.
  212. ↑ The Two Noble Kinsmen 1.2.3-5.
  213. 1 2 Potter 1997, p. 158n.
  214. ↑ Troilus and Cressida Prologue.1.
  215. ↑ Whitfield 2015, p. 19.
  216. ↑ Bevington 2015, p. 359n.
  217. ↑ Pericles 3.1.
  218. ↑ Gossett 2004, pp. 194n, 204n.
  219. ↑ The Merchant of Venice 1.1.114-115.
  220. ↑ Whitfield 2015, pp. 59–62.
  221. ↑ Drakakis 2010, pp. 169n, 201n, 227n, 244n, 246n, 250n, 255n, 268n, 280n, 316n, 331n.
  222. ↑ Othello 1.1.107.
  223. ↑ Berry 2016, pp. 51, 55–57.
  224. ↑ Thompson & Honigmann 2016, pp. 119n, 132n, 139n.
  225. ↑ Romeo and Juliet Prologue.2
  226. ↑ Levenson 2000, p. 141n.
  227. ↑ The Taming of the Shrew 1.2.1-2.
  228. ↑ Whitfield 2015, p. 101.
  229. ↑ The Two Gentlemen of Verona Title.
  230. ↑ Whitfield 2015, pp. 104–105.
  231. ↑ Evans 1964, pp. 43, 49, 54, 64, 65, 79.
  232. ↑ Sanders & Jackson 2005, p. xxxiv.
  233. ↑ Hamlet 3.2.226-227.
  234. 1 2 Thompson & Taylor 2006, pp. 313n, 314.
  235. ↑ Measure for Measure 1.1.44-45.
  236. ↑ Braunmuller & Watson 2020, p. 122.
  237. ↑ Whitfield 2015, p. 107.
  238. ↑ Henry VI, Part 3 2.1.107-108.
  239. ↑ Cox & Rasmussen 2001, pp. 208n, 211n.
  240. 1 2 3 Forker 2002, p. 306n.
  241. ↑ Forker 2002, p. 315n.
  242. 1 2 3 Norwich 1999, p. 119.
  243. ↑ Richard II 3.2.1.
  244. ↑ Forker 2002, p. 314n-315n.
  245. 1 2 Kastan 2002, p. 239n.
  246. ↑ Henry IV, Part 1 4.3.95-98.
  247. ↑ The Merry Wives of Windsor 2.1.61-62.
  248. ↑ The Merry Wives of Windsor 2.2.96-99.
  249. ↑ Berry 2016, pp. 68, 69.
  250. ↑ Melchiori 2000, pp. 9–10, 124n.
  251. ↑ Henry VI, Part 3 2.2.1.
  252. 1 2 Cox & Rasmussen 2001, p. 232n.
  253. ↑ Cox & Rasmussen 2001, pp. 232n, 243n, 246n, 247n, 254n.
  254. ↑ Whitfield 2015, p. 171.
  255. ↑ Henry VI, Part 3 4.8.7-8.
  256. 1 2 Cox & Rasmussen 2001, p. 323n.
  257. ↑ Burns 2000, pp. 23–24, 262n.
  258. ↑ Norwich 1999, p. 225.
  259. ↑ Honigmann 1954, pp. 89SD, 89n, 109SD.
  260. ↑ Lander & Tobin 2018, p. 13.
  261. ↑ Saccio 2000, pp. 193–194.
  262. ↑ Henry IV, Part 2 Induction.35.
  263. 1 2 Kastan 2002, p. 198n.
  264. 1 2 Bulman 2016, pp. 165n, 243n.
  265. ↑ Henry VI, Part 3 1.2.50.
  266. 1 2 3 Cox & Rasmussen 2001, p. 203n.
  267. ↑ A Midsummer Night's Dream 1.2.94-95.
  268. ↑ Dawson & Minton 2008, pp. 271n, 310n, 320n, 331n.
  269. ↑ The Two Noble Kinsmen 2.3.53.
  270. ↑ The Two Noble Kinsmen 2.6.3-4.
  271. ↑ Potter 1997, p. 4.
  272. ↑ Evans 1964, pp. 99, 119, 120.
  273. ↑ Sanders & Jackson 2005, pp. xxix–xxx.
  274. ↑ Bate 2018, p. 209n.
  275. ↑ Burns 2000, p. 110n, 187n.
  276. ↑ Hamlet 5.1.180.
  277. ↑ Hamlet 5.1.65-66.
  278. ↑ Berry 2016, p. 2.
  279. 1 2 Thompson & Taylor 2006, p. 409n.
  280. ↑ The Tempest 1.2.171-172.
  281. ↑ The Tempest 1.2.333-334.
  282. 1 2 3 4 Vaughan & Vaughan 2011, p. 171n.
  283. ↑ Henry VI, Part 3 4.5.11.
  284. ↑ Henry VI, Part 3 4.6.2-3.
  285. ↑ Cairncross 1964, p. 105SD.
  286. ↑ Cox & Rasmussen 2001, p. 314n.
  287. ↑ The Taming of the Shrew 4.6.2
  288. ↑ Heilman 1986, p. 133.
  289. ↑ Richard II 5.1.1-2.
  290. 1 2 Forker 2002, p. 415n.
  291. 1 2 3 Bulman 2016, p. 417n.
  292. 1 2 Cox & Rasmussen 2001, p. 221n.
  293. ↑ Saccio 2000, p. 139.
  294. ↑ Norwich 1999, p. 310.
  295. ↑ McMullan 2000, pp. 266n, 362n.
  296. ↑ Gossett 2004, pp. 218n, 271n, 276, 341n, 367n.
  297. ↑ Vaughan & Vaughan 2011, pp. 165n, 171n.
  298. ↑ Henry V 4.7.86-88.
  299. ↑ Whitfield 2015, pp. 164–165.
  300. ↑ Henry VI, Part 1 2.2.38-40.
  301. ↑ Burns 2000, pp. 61–62.
  302. ↑ Richard III 3.5.96-98.
  303. ↑ Siemon 2009, p. 294n.
  304. 1 2 Norwich 1999, pp. 332, 363.
  305. ↑ Richard II 2.3.1 & 2.3.159-160.
  306. 1 2 Forker 2002, p. 291n.
  307. 1 2 3 4 Saccio 2000, p. 28.
  308. ↑ Macbeth 4.1.108-110.
  309. ↑ Macbeth 5.2.5-6.
  310. ↑ Macbeth 5.4.3.
  311. ↑ Brooke 1990, p. 5.
  312. ↑ McMullan 2000, p. 10.
  313. ↑ Henry VIII 2.2.138-139.
  314. 1 2 McMullan 2000, pp. 298n, 316n.
  315. ↑ Saccio 2000, p. 221.
  316. ↑ Richard II 2.3.162-164.
  317. 1 2 Forker 2002, p. 309n.
  318. 1 2 3 4 Holland 2013, p. 236n.
  319. 1 2 Daniell 1998, p. 232n.
  320. ↑ Coriolanus 2.1.265.
  321. ↑ Julius Caesar 1.3.36-37.
  322. ↑ Julius Caesar 3.1.11-12.
  323. ↑ Daniell 1998, pp. 231n, 232n.
  324. ↑ Antony and Cleopatra 4.14.3-4.
  325. ↑ Antony and Cleopatra 4.14.6-7.
  326. ↑ Wilders 1995, pp. 263n, 275n, .
  327. ↑ Bevington 2005, pp. 237n, 248n.
  328. ↑ Pericles 5.1.227.
  329. 1 2 Gossett 2004, p. 396n.
  330. ↑ Macbeth 5.2.11-12.
  331. ↑ Muir 1984, pp. 137, 144, 151.
  332. ↑ Henry IV, Part 1 1.2.155.
  333. ↑ Henry IV, Part 2 2.2.137-139.
  334. ↑ Kastan 2002, pp. 205n, 267n.
  335. ↑ Bulman 2016, pp. 220n, 183n, 213n, 248n, 413n.
  336. 1 2 Craik 1995, p. 156n.
  337. ↑ Taylor 1982, p. 120n.
  338. 1 2 Gurr 2005, p. 9.
  339. ↑ Richard II 2.1.40.
  340. ↑ Richard II 1.4.56-57.
  341. ↑ Richard II 2.1.216-217.
  342. 1 2 Whitfield 2015, p. 161.
  343. 1 2 Norwich 1999, p. 115.
  344. ↑ Whitfield 2015, p. 151.
  345. 1 2 Forker 2002, p. 372n.
  346. 1 2 3 Bulman 2016, p. 358n.
  347. ↑ Honigmann 1954, pp. 3SD, 96SD, 119SD.
  348. ↑ Forker 2002, p. 179n.
  349. ↑ Ure 1961, pp. 3n–4n.
  350. ↑ Norwich 1999, p. 111.
  351. ↑ Norwich 1999, p. 122.
  352. ↑ Saccio 2000, p. 32.
  353. ↑ Norwich 1999, p. 124.
  354. ↑ Ure 1961, pp. 3SD, 3n–4n, 39SD, 69SD, 124SD, 124n–125n, 159SD, 167SD, 177SD.
  355. ↑ Forker 2002, pp. 179n, 274n, 372n, 442n–443n, 476n.
  356. ↑ Kastan 2002, pp. 140n, 163n, 257n.
  357. 1 2 Taylor 1982, p. 94n.
  358. ↑ Burns 2000, p. 115n, 120n.
  359. ↑ Norwich 1999, pp. 201–203, 237.
  360. ↑ Hattaway 1990, p. 15.
  361. ↑ Saccio 2000, pp. 105–106.
  362. ↑ Burns 2000, pp. 115n, 194n.
  363. ↑ Hattaway 1990, pp. 162n, 181n.
  364. ↑ Knowles 1999, pp. 149n, 173n, 312n.
  365. ↑ Cox & Rasmussen 2001, p. 185n.
  366. ↑ Norwich 1999, pp. 283, 308.
  367. ↑ Cox & Rasmussen 2001, p. 267n.
  368. ↑ Cox & Rasmussen 2001, p. 312n.
  369. 1 2 Cairncross 1964, p. 103SD.
  370. ↑ Cox & Rasmussen 2001, p. 329n.
  371. ↑ Cox & Rasmussen 2001, p. 185n, 267n, 296n, 312n, 329n, 365n.
  372. ↑ Siemon 2009, pp. 133n, 168n, 214n, 224n, 239n, 317n, 328n, 333n.
  373. ↑ McMullan 2000, p. 212n.
  374. ↑ Saccio 2000, pp. 212–213.
  375. ↑ Whitfield 2015, p. 181.
  376. ↑ McMullan 2000, p. 427n.
  377. ↑ McMullan 2000, pp. 212n, 231n, 248n, 279n, 289n, 329n, 388n, 402n, 419n, 427n.
  378. ↑ Richard II 3.2.205.
  379. ↑ Berry 2016, p. 36.
  380. 1 2 Forker 2002, p. 336n.
  381. 1 2 Norwich 1999, p. 120.
  382. ↑ As You Like It 1.1.109-110.
  383. ↑ Gurr 2005, pp. 29–30.
  384. ↑ Henry V 3.5.64.
  385. ↑ Craik 1995, p. 225n.
  386. ↑ Norwich 1999, p. 212.
  387. 1 2 3 Craik 1995, pp. 344n–345n.
  388. ↑ Norwich 1999, pp. 199, 216.
  389. 1 2 Cox & Rasmussen 2001, p. 280n.
  390. ↑ Henry IV, Part 1 1.2.123-126.
  391. ↑ Henry VI, Part 2 1.2.149-150.
  392. 1 2 Kastan 2002, pp. 158n, 191n.
  393. ↑ Whitfield 2015, p. 162.
  394. 1 2 Ackroyd 1990, pp. 824–825.
  395. ↑ The Merry Wives of Windsor 1.3.1.
  396. 1 2 Melchiori 2000, p. 145n.
  397. ↑ Henry IV Part 2 4.1.1-2.
  398. ↑ Bulman 2016, pp. 102, 317SD.
  399. ↑ Whitfield 2015, pp. 163–164.
  400. ↑ Richard II 2.3.1-3.
  401. ↑ Henry IV, Part 2 4.2.124-125.
  402. ↑ Bulmer 2016, pp. 79–91, 292n, 386n, 403n.
  403. ↑ The Merry Wives of Windsor 4.4.27-30.
  404. ↑ The Merry Wives of Windsor 4.6.19-20.
  405. ↑ Melchiori 2000, pp. 273n, 275n.
  406. ↑ Bevington 2015, pp. 155n, 161n.
  407. ↑ Henry VI, Part 2 4.4.38.
  408. 1 2 Knowles 1999, p. 332n.
  409. ↑ Henry VIII 4.1.34-35.
  410. 1 2 Whitfield 2015, p. 177.
  411. 1 2 McMullan 2000, p. 374n.
  412. ↑ Richard II 5.1.51-52.
  413. ↑ Richard II 5.4.8-10.
  414. 1 2 Forker 2002, p. 460n.
  415. 1 2 Norwich 1999, p. 126.
  416. 1 2 Saccio 2000, p. 35.
  417. ↑ Richard III 3.3.8.
  418. 1 2 Siemon 2009, p. 270n.
  419. 1 2 Norwich 1999, p. 362.
  420. 1 2 3 Wilders 1995, p. 124n.
  421. ↑ Bevington 2005, p. 120n.
  422. 1 2 3 4 5 6 7 8 Miola 2002, p. 206.
  423. ↑ 'Antony and Cleopatra 2.7.40.
  424. ↑ Antony and Cleopatra 2.6.82.
  425. 1 2 Wilders 1995, p. 162n.
  426. 1 2 3 Wilders 1995, p. 154n.
  427. ↑ Bevington 2005, p. 147n.
  428. ↑ Thompson & Honigmann 2016, pp. 130n, 132n.
  429. ↑ Henry VI, Part 2 4.4.26.
  430. ↑ Knowles 1999, p. 328n.
  431. ↑ King John 5.3.8.
  432. 1 2 Lander & Tobin 2018, p. 313n.
  433. ↑ Saccio 2000, p. 200.
  434. ↑ Saccio 2000, pp. 200–201.
  435. ↑ Henry VI, Part 1 2.4.3-4.
  436. 1 2 Burns 2000, p. 178n.
  437. ↑ Henry VI, Part 1 1.4.1.
  438. ↑ Burns 2000, p. 141n.
  439. ↑ Henry VI, Part 2 4.5.4-6.
  440. 1 2 Knowles 1999, p. 316n.
  441. ↑ Henry VI, Part 3 3.2.118-120.
  442. ↑ Cox & Rasmussen 2001, pp. 316n–317n.
  443. ↑ Henry VI, Part 3 5.5.82-84.
  444. 1 2 Cox & Rasmussen 2001, p. 359n.
  445. ↑ Richard III 1.4.8-9.
  446. 1 2 Siemon 2009, p. 193n.
  447. 1 2 Saccio 2000, p. 168.
  448. ↑ Richard III 3.2.28-29.
  449. ↑ Siemon 2009, p. 272n, 280n.
  450. ↑ Richard III 4.1.3.
  451. 1 2 Siemon 2009, p. 308n.
  452. ↑ Henry IV, Part 2 2.4.358.
  453. ↑ Bulman 2016, pp. 283n, 358n, 392n.
  454. ↑ Henry VIII 4.1.96-99.
  455. ↑ Berry 2016, pp. 63–64.
  456. 1 2 McMullan 2000, p. 256n.
  457. ↑ Saccio 2000, p. 218.
  458. ↑ Gossett & Wilcox 2019, pp. 7–9.
  459. ↑ Hunter 1959, p. xxviii.
  460. ↑ Wayne 2017, pp. 94–95.
  461. ↑ Foakes 1997, pp. 92–94.
  462. ↑ Bate 2018, p. 18.
  463. ↑ Bate 2018, pp. 16, 18, 82, 84.
  464. ↑ Potter 1997, pp. 40–41.
  465. 1 2 Knowles 1999, p. 296n.
  466. ↑ Knowles 1999, pp. 296n, 311n, 316n, 317n, 318n, 328n, 332n, 335n.
  467. ↑ Bevington 2005, p. 179n.
  468. ↑ Watson 2010, p. 235.
  469. ↑ Watson 2010, pp. 239–240.
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  471. ↑ Saccio 2000, p. 192.
  472. 1 2 Lander & Tobin 2018, p. 164n.
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  475. ↑ Saccio 2000, p. 195.
  476. ↑ Norwich 1999, p. 143.
  477. 1 2 3 Norwich 1999, p. 164.
  478. 1 2 Bulman 2016, pp. 317n–318n, 345n–346n.
  479. 1 2 Craik 1995, pp. 201SD, 201n, 215SD, 215n.
  480. 1 2 Taylor 1982, p. 157n.
  481. 1 2 Gurr 2005, p. 125.
  482. 1 2 Norwich 1999, p. 211.
  483. ↑ Saccio 2000, p. 83.
  484. 1 2 Taylor 1982, p. 1.
  485. 1 2 Norwich 1999, pp. 185, 215.
  486. 1 2 3 Norwich 1999, p. 265.
  487. 1 2 3 Knowles 1999, pp. 355n, 362n.
  488. ↑ Norwich 1999, p. 285.
  489. ↑ Norwich 1999, p. 288.
  490. ↑ Norwich 1999, p. 300.
  491. 1 2 Norwich 1999, pp. 300, 315.
  492. 1 2 3 Saccio 2000, p. 149.
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  494. ↑ Norwich 1999, p. 302.
  495. 1 2 Cox & Rasmussen 2001, pp. 346n, 348n, 352n.
  496. 1 2 Norwich 1999, pp. 301–303, 315–317.
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  500. ↑ Muir & McAlindon 2005, p. lvii.
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  502. ↑ Hodgdon 2010, p. 328.
  503. ↑ Hartley 2026, p. 111n.
  504. 1 2 Dusinberre 2006, p. 149n.
  505. ↑ Hattaway 1990, p. 9.
  506. 1 2 Muir 1985.
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  510. 1 2 Jowett et al. 2005.
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  513. ↑ Hunter 1959, p. 3SD.
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  592. ↑ Holland 2013, p. 295n.
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  614. 1 2 Wayne 2017, p. 174n.
  615. ↑ Wayne 2017, p. 215n.
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  617. ↑ Wayne 2017, p. 243n.
  618. ↑ Wayne 2017, p. 250n.
  619. ↑ Wayne 2017, p. 263n.
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  621. ↑ Wayne 2017, pp. 65, 77, 139, 164n, 279n, 319n.
  622. ↑ Wayne 2017, p. 280n.
  623. ↑ Wayne 2017, p. 282n.
  624. ↑ Wayne 2017, p. 313n.
  625. ↑ Wayne 2017, p. 316n.
  626. ↑ Wayne 2017, p. 319n.
  627. ↑ Wayne 2017, p. 322n.
  628. ↑ Wayne 2017, p. 324n, 332n.
  629. ↑ Wayne 2017, p. 347n.
  630. ↑ Thompson & Taylor 2006, p. 147n.
  631. ↑ Thompson & Taylor 2006, p. 164n.
  632. ↑ Thompson & Taylor 2006, pp. 188n–189n.
  633. ↑ Thompson & Taylor 2006, p. 201n.
  634. ↑ Thompson & Taylor 2006, p. 227n.
  635. ↑ Thompson & Taylor 2006, pp. 237n, 279n.
  636. ↑ Thompson & Taylor 2006, p. 295n.
  637. ↑ Hamlet 3.2.226-227.
  638. ↑ Thompson & Taylor 2006, p. 326n.
  639. 1 2 Thompson & Taylor 2006, p. 333n.
  640. 1 2 Thompson & Taylor 2006, p. 355n.
  641. ↑ Hamlet 4.1.34.
  642. ↑ Thompson & Taylor 2006, pp. 358n, 361n.
  643. ↑ Thompson & Taylor 2006, p. 366n.
  644. ↑ Thompson & Taylor 2006, p. 372n.
  645. ↑ Thompson & Taylor 2006, p. 391n.
  646. ↑ Thompson & Taylor 2006, p. 393n.
  647. ↑ Thompson & Taylor 2006, p. 433n.
  648. ↑ Kastan 2002, p. 149n.
  649. 1 2 Kastan 2002, p. 163n.
  650. 1 2 Kastan 2002, p. 205n.
  651. 1 2 Kastan 2002, p. 257n.
  652. ↑ Kastan 2002, p. 267n.
  653. ↑ Kastan 2002, p. 280n.
  654. ↑ Kastan 2002, p. 294n.
  655. ↑ Kastan 2002, p. 301n.
  656. 1 2 Kastan 2002, p. 303n.
  657. ↑ Kastan 2002, p. 312n.
  658. ↑ Kastan 2002, pp. 319n, 324n.
  659. ↑ Kastan 2002, p. 335n.
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  666. ↑ Humphreys 1966, p. 49SD.
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  669. ↑ Bulman 2016, p. 283n.
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  679. ↑ Gurr 2005, p. 200n.
  680. ↑ Gurr 1005, p. 204n.
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  683. ↑ Burns 2000, pp. 9–13, 156n–157n, 162-163n.
  684. ↑ Hattaway 1990, p. 93n.
  685. ↑ Norwich 1999, p. 240.
  686. ↑ Henry VI, Part 1 1.6.4.
  687. ↑ Burns 2000, pp. 149n, 150n, 152n.
  688. ↑ Burns 2000, pp. 9–13, 156n–157n.
  689. ↑ Burns 2000, pp. 9–13, 162n–163n.
  690. ↑ Henry VI, Part 1 2.2.4-5
  691. ↑ Burns 2000, pp. 168n–169n.
  692. ↑ Hattaway 1990, p. 104n.
  693. ↑ Burns 2000, p. 110n.
  694. ↑ Hattaway 1990, p. 113n.
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  696. ↑ Burns 2000, p. 194n.
  697. ↑ Norwich 1999, p. 242.
  698. ↑ Henry VI, Part 1 3.2.1.
  699. ↑ Norwich 1999, p. 244.
  700. ↑ Burns 2000, p. 215n.
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  703. ↑ Burns 2000, p. 232SD.
  704. ↑ Hattaway 1990, p. 149n.
  705. ↑ Burns 2000, p. 242n.
  706. ↑ Hattaway 1990, pp. 154n, 155n.
  707. 1 2 Norwich 1999, p. 246.
  708. ↑ Hattaway 1990, pp. 166n, 174n.
  709. ↑ Norwich 1999, p. 248.
  710. ↑ Knowles 1999, p. 149n.
  711. ↑ Knowles 1999, p. 166n.
  712. ↑ Knowles 1999, p. 173n.
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  714. ↑ Knowles 1999, p. 195n.
  715. ↑ Knowles 1999, p. 211n.
  716. ↑ Knowles 1999, p. 216n.
  717. ↑ Knowles 1999, p. 224n.
  718. 1 2 Knowles 1999, p. 231n.
  719. ↑ Norwich 1999, pp. 254, 274.
  720. ↑ Knowles 1999, pp. 255n, 281n.
  721. ↑ Norwich 1999, p. 276.
  722. ↑ Knowles 1999, p. 283n.
  723. ↑ Knowles 1999, pp. 296n, 311n.
  724. ↑ Knowles 1999, p. 317n.
  725. ↑ Knowles 1999, pp. 318n, 328n.
  726. ↑ Henry VI, Part 2 4.9.42.
  727. ↑ Knowles 1999, p. 335n.
  728. ↑ Norwich 1999, p. 260.
  729. ↑ Knowles 1999, p. 341.
  730. ↑ Norwich 1999, pp. 277, 278, 279.
  731. ↑ Henry VI, Part 3 1.2.50.
  732. ↑ Norwich 1999, p. 308-9.
  733. ↑ Cox & Rasmussen 2001, pp. 208n, 211n, 221n.
  734. ↑ Norwich 1999, pp. 285–286, 309.
  735. ↑ Saccio 2000, p. 153.
  736. ↑ Cox & Rasmussen 2001, pp. 243n, 246n, 247n, 254n.
  737. ↑ Norwich 1999, pp. 288–289, 310–311.
  738. ↑ Saccio 2000, pp. 141, 150.
  739. ↑ Henry VI, Part 3 2.5.128.
  740. ↑ Norwich 1999, pp. 290, 311.
  741. ↑ Norwich 1999, pp. 312–313.
  742. ↑ Henry VI, Part 3 4.2.0SD.
  743. ↑ Cox & Rasmussen 2001, p. 305n.
  744. ↑ Cox & Rasmussen 2001, p. 307n.
  745. ↑ Cox & Rasmussen 2001, p. 316n.
  746. ↑ Cox & Rasmussen 2001, p. 333n.
  747. ↑ Norwich 1999, p. 314.
  748. ↑ Saccio 2000, pp. 149, 153.
  749. ↑ Norwich 1999, pp. 303–304.
  750. ↑ McMullan 2000, pp. 212n, 231n, 248n.
  751. ↑ McMullan 2000, p. 266n.
  752. ↑ McMullan 2000, pp. 279n, 289n.
  753. ↑ McMullan 2000, p. 329n.
  754. ↑ McMullan 2000, p. 362n.
  755. ↑ McMullan 2000, pp. 388n, 402n, 419n, 427n.
  756. ↑ Daniell 1998, pp. 155n, 162n, 184n.
  757. ↑ Daniell 1998, p. 196n.
  758. ↑ Daniell 1998, p. 218n.
  759. ↑ Daniell 1998, p. 228n.
  760. ↑ Daniell 1998, p. 231n.
  761. ↑ Daniell 1998, p. 268n.
  762. ↑ Daniell 1998, p. 270n.
  763. ↑ Daniell 1998, p. 277n-278n.
  764. ↑ Daniell 1998, pp. 274n, 277n–278n.
  765. ↑ Daniell 1998, pp. 298n, 306n, 307n, 314n, 316n.
  766. ↑ Lander & Tobin 2018, p. 139n.
  767. ↑ Honigmann 1954, pp. 21SD, 74SD.
  768. ↑ Lander & Tobin 2018, p. 208n.
  769. ↑ Honigmann 1954, p. 74SD.
  770. ↑ Honigmann 1954, p. 96SD.
  771. ↑ Honigmann 1954, p. 119SD.
  772. ↑ Honigmann 1954, p. 123SD.
  773. ↑ Honigmann 1954, pp. 133SD, 134SD.
  774. ↑ Honigmann 1954, p. 137SD.
  775. ↑ Honigmann 1954, p. 139SD.
  776. ↑ Honigmann 1954, p. 141SD.
  777. 1 2 Wells 2000, p. 33.
  778. ↑ Muir 1985, p. 3SD.
  779. ↑ Muir 1985, p. 22SD.
  780. ↑ Muir 1985, pp. 32SD, 34SD, 53SD.
  781. ↑ Muir 1985, pp. 56SD, 64SD, 78SD.
  782. ↑ King Lear 2.2.164-184
  783. ↑ Muir 1985, p. 76SD.
  784. ↑ Muir 1985, pp. 96SD, 99SD.
  785. ↑ Muir 1985, p. 105SD.
  786. ↑ Muir 1985, p. 107SD.
  787. ↑ Muir 1985, p. 120SD.
  788. ↑ Foakes 1997, p. 286n.
  789. ↑ Muir 1985, pp. 122SD, 122n.
  790. ↑ Muir 1985, p. 130SD.
  791. ↑ Muir 1985, p. 137SD.
  792. ↑ Wells 2000, p. 59.
  793. ↑ Muir 1985, p. 143SD.
  794. ↑ Foakes 1997, p. 151.
  795. ↑ Muir 1985, pp. 150SD, 154SD.
  796. ↑ Muir 1985, pp. 156SD, 156n.
  797. ↑ Muir 1985, p. 158SD.
  798. ↑ Muir 1985, p. 176SD.
  799. ↑ Muir 1985, p. 181SD.
  800. ↑ Muir 1985, p. 185SD.
  801. ↑ Muir 1985, p. 187SD.
  802. ↑ Woudhuysen 1998, pp. 67–68.
  803. ↑ Kerrigan & Walton 2005.
  804. ↑ David 1951.
  805. ↑ Woudhuysen 1998.
  806. ↑ David 1951, p. 2.
  807. ↑ Macbeth 1.3.37.
  808. ↑ Muir 1984, pp. 5SD, 5n.
  809. ↑ Macbeth 1.1.6.
  810. ↑ Clark & Mason 2015, p. 136n.
  811. 1 2 Muir 1984, p. 22SD.
  812. ↑ Muir 1984, p. 33SD.
  813. ↑ Muir 1984, pp. 36SD, 45SD, 51SD, 58SD.
  814. ↑ Muir 1984, pp. 69SD, 69n.
  815. ↑ Muir 1984, p. 72SD.
  816. 1 2 Clark & Mason 2015, p. 124.
  817. ↑ Muir 1984, p. 99SD.
  818. ↑ Muir 1984, pp. 105SD, 105n.
  819. ↑ Muir 1984, p. 117SD.
  820. ↑ Muir 1984, pp. 122SD, 122n, 125n.
  821. ↑ Muir 1984, p. 137SD.
  822. ↑ Macbeth 5.2.31.
  823. ↑ Muir 1984, p. 144SD.
  824. ↑ Macbeth 5.4.3.
  825. ↑ Muir 1984, p. 151SD.
  826. ↑ Muir 1984, p. 156SD.
  827. ↑ Brooke 1990.
  828. ↑ Muir 1984.
  829. ↑ Clark & Mason 2015.
  830. 1 2 3 Brooke 1990, p. 206n.
  831. ↑ Clark & Mason 2015, pp. 301–302.
  832. ↑ Muir 1984, p. 161SD.
  833. ↑ Clark & Mason 2015, p. 294n.
  834. ↑ Muir 1984, pp. 156SD, 158SD, 161SD.
  835. ↑ Clark & Mason 2015, p. 297n.
  836. ↑ Lever 1965, pp. 3n, ix.
  837. ↑ Lever 1965, pp. 9SD, 9n.
  838. ↑ Lever 1965, p. 19SD.
  839. ↑ Lever 1965, p. 22SD.
  840. ↑ Lever 1965, p. 27SD.
  841. ↑ Lever 1965, pp. 27SD, 27n.
  842. ↑ Lever 1965, p. 39SD.
  843. ↑ Lever 1965, p. 51SD.
  844. ↑ Lever 1965, p. 53SD.
  845. ↑ Measure for Measure between 3.1.270 & 3.1.271.
  846. ↑ Lever 1965, p. 81.
  847. ↑ Lever 1965, p. 66SD.
  848. ↑ Measure for Measure 3.1.266.
  849. ↑ Lever 1965, pp. 96SD, 96n.
  850. ↑ Lever 1965, pp. 100SD, 110SD.
  851. ↑ Lever 1965, pp. 120SD, 120n.
  852. ↑ Measure for Measure 4.3.94-95
  853. ↑ Lever 1965, pp. 122SD, 122n.
  854. ↑ Lever 1965, p. 123SD.
  855. ↑ Lever 1965, pp. 125SD.
  856. ↑ Drakakis 2010, p. 169n.
  857. ↑ Drakakis 2010, p. 188n.
  858. ↑ Drakakis 2010, p. 201n.
  859. ↑ Drakakis 2010, p. 222n.
  860. ↑ Drakakis 2010, p. 227n.
  861. ↑ Drakakis 2010, p. 244n.
  862. ↑ Drakakis 2010, p. 246n.
  863. ↑ Drakakis 2010, p. 250n.
  864. ↑ Drakakis 2010, p. 255n.
  865. ↑ Drakakis 2010, p. 268n.
  866. ↑ Drakakis 2010, p. 272n.
  867. ↑ Drakakis 2010, p. 280n.
  868. ↑ Drakakis 2010, p. 289n.
  869. ↑ Drakakis 2010, p. 316n.
  870. ↑ Drakakis 2010, pp. 316n, 325n.
  871. ↑ Drakakis 2010, p. 331n.
  872. ↑ Drakakis 2010, p. 366n.
  873. ↑ Drakakis 2010, p. 367n.
  874. ↑ Melchiori 2000, p. 124n, 144n.
  875. ↑ Melchiori 2000, p. 153n.
  876. ↑ Melchiori 2000, p. 163n.
  877. ↑ Melchiori 2000, p. 177n.
  878. ↑ Melchiori 2000, pp. 195n, 201n.
  879. ↑ Melchiori 2000, p. 208n.
  880. ↑ Melchiori 2000, p. 213n.
  881. ↑ Melchiori 2000, p. 231n.
  882. ↑ Melchiori 2000, p. 239n.
  883. ↑ Melchiori 2000, p. 243n.
  884. ↑ Melchiori 2000, p. 255n.
  885. ↑ Melchiori 2000, p. 256n.
  886. ↑ Melchiori 2000, p. 261n, 268n, 271n.
  887. ↑ Melchiori 2000, p. 273n.
  888. ↑ The Merry Wives of Windsor4.4.53-54
  889. 1 2 Melchiori 2000, p. 275n.
  890. ↑ Chaudhuri 2017, p. 121n.
  891. ↑ Chaudhuri 2017, p. 138n.
  892. ↑ Chaudhuri 2017, pp. 145n, 168n, 225n.
  893. ↑ Chaudhuri 2017, p. 243n.
  894. ↑ Chaudhuri 2017, p. 246n.
  895. ↑ McEachern 2015, pp. 187n, 209n, 210n, 215n, 239n.
  896. ↑ McEachern 2015, pp. 242n, 257n.
  897. ↑ McEachern 2015, p. 265n.
  898. ↑ McEachern 2015, p. 273n.
  899. 1 2 McEachern 2015, p. 285n.
  900. ↑ McEachern 2015, p. 290n.
  901. ↑ McEachern 2015, p. 294n.
  902. ↑ McEachern 2015, p. 316n.
  903. ↑ McEachern 2015, p. 320n.
  904. ↑ McEachern 2015, p. 344n.
  905. ↑ McEachern 2015, p. 347n.
  906. ↑ Thompson & Honigmann 2016, p. 119n.
  907. ↑ Thompson & Honigmann 2016, p. 132n.
  908. ↑ Bate & Rasmussen 2009, p. 32n.
  909. ↑ Thompson & Honigmann 2016, p. 139n.
  910. ↑ Bate & Rasmussen 2009, p. 35n.
  911. ↑ Bate & Rasmussen 2009, p. 48n.
  912. ↑ Bate & Rasmussen 2009, p. 58n.
  913. ↑ Bate & Rasmussen 2009, p. 70n.
  914. ↑ Thompson & Honigmann 2016, p. 212n.
  915. ↑ Bate & Rasmussen 2009, p. 87n.
  916. ↑ Thompson & Honigmann 2016, p. 276n.
  917. ↑ Bate & Rasmussen 2009, p. 102n.
  918. ↑ Thompson & Honigmann 2016, p. 292n.
  919. ↑ Bate & Rasmussen 2009, p. 113n.
  920. ↑ Thompson & Honigmann 2016, p. 309n, 345n.
  921. ↑ Bate & Rasmussen 2009, p. 117n.
  922. ↑ Gossett 2004, pp. 171, 176, 194, 204, 208, 217–218, 222, 240, 248–249, 258–259, 263–264, 271, 276, 288–289, 303, 307, 308, 313, 322–323, 335, 340–341, 346, 363–364, 366–367, 394–395, 396–397, 404–405, 406.
  923. ↑ Jowett et al. 2005, pp. 1059–1086.
  924. ↑ Gossett 2004, p. 176n.
  925. ↑ Gossett 2004, p. 194n.
  926. ↑ Gossett 2004, p. 204n.
  927. ↑ Gossett 2004, pp. 218n, 222n.
  928. ↑ Gossett 2004, pp. 240n, 248n.
  929. ↑ Gossett 2004, p. 259n.
  930. ↑ Gossett 2004, p. 263n.
  931. ↑ Gossett 2004, p. 271n.
  932. ↑ Gossett 2004, p. 276n.
  933. ↑ Gossett 2004, p. 289n.
  934. ↑ Gossett 2004, p. 303n.
  935. ↑ Gossett 2004, p. 307n.
  936. ↑ Pericles 15.66
  937. ↑ Gossett 2004, pp. 308n–309n, 313n.
  938. ↑ Gossett 2004, p. 323n.
  939. ↑ Gossett 2004, p. 335n.
  940. ↑ Gossett 2004, pp. 340n–341n.
  941. ↑ Gossett 2004, p. 346n.
  942. ↑ Gossett 2004, p. 364n.
  943. ↑ Gossett 2004, p. 367n.
  944. ↑ Gossett 2004, pp. 394n, 405n.
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  946. ↑ Forker 2002, p. 240n.
  947. ↑ Forker 2002, p. 274n.
  948. ↑ Saccio 2000, p. 29.
  949. ↑ Forker 2002, pp. 314n, 315n.
  950. ↑ Ure 1961, p. 105SD.
  951. ↑ Ure 1961, pp. 117SD, 117n.
  952. ↑ Forker 2002, p. 360n-361n.
  953. ↑ Forker 2002, pp. 427n–248n.
  954. ↑ Forker 2002, pp. 433n–434n, 442n–443n.
  955. ↑ Forker 2002, p. 476n.
  956. ↑ Siemon 2009, p. 133.
  957. ↑ Richard III 1.2.29.
  958. ↑ Richard III 1.2.201-202.
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  961. ↑ Siemon 2009, pp. 214n, 224n.
  962. ↑ Siemon 2009, p. 235n.
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  965. ↑ Siemon 2009, p. 261n.
  966. ↑ Siemon 2009, p. 272n.
  967. ↑ Norwich 1999, p. 329.
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  970. ↑ Siemon 2009, p. 290n.
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  972. ↑ Siemon 2009, p. 333n.
  973. ↑ Siemon 2009, p. 375n.
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  975. ↑ Richard III 4.4.468-469.
  976. ↑ Siemon 2009, pp. 385n, 411n, 412n.
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  1019. ↑ Weis 2012, p. 318n.
  1020. ↑ Gibbons 1980, p. 221n.
  1021. 1 2 Weis 2012, p. 320n.
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  1027. ↑ Hodgdon 2010, p. 139n.
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  1034. 1 2 Hodgdon 2010, p. 192n.
  1035. ↑ Heilman 1986, p. 78SD.
  1036. ↑ Heilman 1986, p. 94SD.
  1037. ↑ Heilman 1986, p. 98SD.
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  1041. ↑ Heilman 1986, p. 116SD.
  1042. 1 2 Heilman 1986, p. 129SD.
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  1047. ↑ Kermode 1954, p. 9SD.
  1048. 1 2 Kermode 1954, p. 43n.
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  1087. 1 2 Bevington 2015, p. 155n.
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  1105. ↑ Elam 2008, p. 165n.
  1106. ↑ Elam 2008, p. 170n.
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  1110. ↑ Elam 2008, p. 207n.
  1111. 1 2 Elam 2008, p. 211n.
  1112. ↑ Elam 2008, p. 226n.
  1113. ↑ Elam 2008, p. 236n.
  1114. ↑ Elam 2008, p. 250n.
  1115. ↑ Elam 2008, p. 263n.
  1116. ↑ Elam 2008, p. 269n.
  1117. ↑ Elam 2008, p. 273n.
  1118. ↑ Twelfth Night 3.4.218.
  1119. ↑ Twelfth Night 5.1.61 & 5.1.60.
  1120. ↑ Elam 2008, p. 293n.
  1121. ↑ Elam 2008, p. 299n.
  1122. ↑ Elam 2008, p. 305n.
  1123. ↑ Elam 2008, p. 317n.
  1124. ↑ Elam 2008, p. 320n.
  1125. ↑ Carroll 2004, p. 75.
  1126. ↑ Carroll 2004, pp. 75–76, 137n, 147n, 158n.
  1127. ↑ Barnet 1964, p. 43SD.
  1128. ↑ Carroll 2004, p. 147n.
  1129. ↑ Carroll 2004, p. 158n.
  1130. ↑ Carroll 2004, pp. 78, 164n.
  1131. ↑ Carroll 2004, p. 164n.
  1132. ↑ Carroll 2004, pp. 75–76, 174n, 176n.
  1133. ↑ Carroll 2004, p. 174n.
  1134. ↑ Barnet 1964, p. 65SD.
  1135. ↑ Carroll 2004, pp. 78, 180n, 193n, 195n.
  1136. ↑ Carroll 2004, p. 180n.
  1137. ↑ The Two Gentlemen of Verona 2.5.1.
  1138. ↑ Carroll 2004, p. 193n.
  1139. ↑ Carroll 2004, p. 195n.
  1140. ↑ Carroll 2004, pp. 75–76, 199n.
  1141. ↑ Barnet 1964, p. 79SD.
  1142. ↑ Carroll 2004, pp. 78, 205n, 226n, 233n, 238n, 247n, 250n, 264n, 269n, 270n.
  1143. ↑ Barnet 1964, pp. 82SD, 95SD.
  1144. ↑ Carroll 2004, p. 233n.
  1145. ↑ Carroll 2004, pp. 238n, 247n, 250n.
  1146. ↑ The Two Gentlemen of Verona 5.1.3.
  1147. ↑ Carroll 2004, p. 264n.
  1148. ↑ Barnet 1964, p. 117SD.
  1149. ↑ Carroll 2004, pp. 269n, 270n.
  1150. ↑ Waith 1989, p. 80n.
  1151. ↑ Waith 1989, p. 93n.
  1152. ↑ Potter 1997, p. 167n.
  1153. ↑ Waith 1989, p. 98n.
  1154. ↑ Waith 1989, p. 102n.
  1155. ↑ Waith 1989, p. 105n.
  1156. ↑ Waith 1989, p. 106n.
  1157. ↑ Waith 1989, p. 109n.
  1158. ↑ Waith 1989, p. 121n.
  1159. ↑ Waith 1989, p. 125n.
  1160. ↑ Waith 1989, p. 126n.
  1161. ↑ The Two Noble Kinsmen 2.6.2-4.
  1162. ↑ Potter 1997, p. 211n.
  1163. ↑ Waith 1989, p. 130n.
  1164. ↑ Waith 1989, pp. 131n, 137n, 139n, 142n, 143n, 152n.
  1165. ↑ Potter 1997, p. 223n.
  1166. ↑ Waith 1989, p. 166n.
  1167. ↑ Waith 1989, p. 173n.
  1168. ↑ Waith 1989, p. 181n.
  1169. ↑ Waith 1989, pp. 184n–185n.
  1170. ↑ Potter 1997, p. 286n.
  1171. ↑ Waith 1989, p. 193n.
  1172. ↑ Waith 1989, p. 200n, 207n.
  1173. ↑ Pitcher 2010, p. 145n.
  1174. ↑ Pitcher 2010, p. 149n.
  1175. ↑ Pitcher 2010, p. 186n.
  1176. ↑ Pitcher 2010, p. 201n.
  1177. ↑ Pitcher 2010, p. 205n.
  1178. ↑ Pitcher 2010, p. 219n.
  1179. ↑ Pitcher 2010, pp. 66-67 & fig.11.
  1180. ↑ Pitcher 2010, p. 235n.
  1181. ↑ The Winter's Tale 4.1.19-21.
  1182. ↑ Pitcher 2010, p. 247n.
  1183. ↑ Pitcher 2010, p. 249n.
  1184. ↑ Pitcher 2010, p. 259n.
  1185. ↑ Pitcher 2010, p. 310n.
  1186. ↑ Pitcher 2010, p. 327n.
  1187. ↑ Pitcher 2010, p. 337n.

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