| Abstract | In lieu of an abstract, here is a brief excerpt of the content: Notes 1. Nicholas Brooke, "Reflecting Gems and Dead Bones: Tragedy versus History in Richard III," Critical Quarterly 7, no. 2 (1965): 123-34. 2. See especially the chapter on Richard III in Linda Charnes, Notorious Identity (Cambridge: Harvard University Press, 1993). 3. Michael Neill, Issues of Death (Oxford: Clarendon Press, 1997); Stephen Greenblatt, Hamlet in Purgatory (Princeton: Princeton University Press, 2001). 4. Dennis Kay, Melodious Tears: The English Funeral Elegy from Spenser to Milton (Oxford: Clarendon Press, 1990), 2. 5. Hall's Chronicle, Containing the History of England, [ed. Henry Ellis] (1809; reprint, New York: AMS Press, 1965), 374-421; The Mirror for Magistrates, ed. Lily B. Campbell (1960; reprint, New York: Barnes and Noble, 1960), 359-70. 6. Phyllis Rackin, "History into Tragedy: The Case of Richard III," in Shakespearean Tragedy and Gender, ed. Shirley Nelson Garner and Madelon Sprengnether (Indiana: Indiana University Press, 1996), 32-33. 7. Richard III is the only play in the history section of the First Folio given the designation of "tragedy," but it is certainly not the only play that is problematic in this regard. Richard II also has a similar ambivalence; in the earliest quarto, it is called a tragedy. 8. Rackin, "History into Tragedy," 43. 9. William Shakespeare, King Richard III, ed. Antony Hammond, Arden Shakespeare (London: Methuen, 1981). All subsequent quotations are from this edition. 10. William Shakespeare, The Tempest, ed. Virginia Vaughan and Alden Vaughan, Arden Shakespeare (London: Methuen, 1999). 11. For a broader perspective on the relationship between tragedy and history in Shakespeare generally, see Pierre Sahel, "History in Shakespeare's Tragedies: Tragedy in Shakespeare's Histories," in Essays on Shakespeare in Honour of A. A. Ansari, ed. T. R. Sharma (Meerut: Shalabh Book House, 1986), 58-69. 12. Bernard Spivack, Shakespeare and the Allegory of Evil: The History of a Metaphor in Relation to his Major Villains (New York: Columbia University Press, 1958), 394-95. 13. Thomas Legge, Richardus Tertius, in The Complete Plays, ed. and trans. Dana Sutton, 2 vols. (New York: Peter Lang, 1993), vol. 1, included a wooing scene for Richard, but he was not allowed to succeed. 14. See Raphael Holinshed, Holinshed's Chronicles of England, Scotland and Ireland, 6 vols. (1807-08; reprint. New York: AMS Press, 1965), 3:324, who may have derived this detail from the Warkworth Chronicle. On the point of transmission, see George Churchill, Richard the Third up to Shakespeare (Berlin: Mayer and Mayer, 1900), 19. 15. Robert Weimann, "Performance-Game and Representation in Richard III," in Textual and Theatrical Shakespeare: Questions of Evidence, ed. Pechter Edward (Iowa City: University of Iowa Press, 1996), 74-75. 16. In the wooing scene, we might note that 115 lines of dialogue with Richard at the height of his power leads to Anne spitting at him; a gorgeous nineteen lines of perfectly measured oratory results in a scornful look; but the business with the dagger does the trick. Richard bares his chest; Anne "offers at it with a sword" (1.2.183) and eventually drops the weapon. Anne's resolve is overcome by theatrical devices. 17. Gillian Day, "'Determinèd to Prove a Villain': Theatricality in Richard III," Critical Survey 3, no. 2 (1991): 152. 18. Ibid., 153. 19. Hanan Yoran, "Thomas More's Richard III: Probing the Limits of Humanism," Renaissance Studies 15 (2001): 528. 20. Thomas More, The History of King Richard III, ed. Richard Sylvester, The Complete Works of St. Thomas More (New Haven: Yale University Press, 1963), 80-81. 21. Emrys Jones, The Origins of Shakespeare (Oxford: Clarendon Press, 1977), 211. 22. For exploration of this relationship by Stephen Greenblatt, though from a completely different perspective, see his discussion in Renaissance Self-Fashioning: From More to Shakespeare, (Chicago: University of Chicago Press, 1984). 23. F. J. Levy, Tudor Historical Thought (San Marino: Huntington Library, 1967), 170-71. 24. Sutton, introduction to Richardus Tertius, in The Complete Plays, 1:xvii. 25. Alison Hanham, Richard III and His Early Historians (Oxford: Clarendon Press, 1975), 166. 26. Ibid., 159. 27. Judith Anderson, Biographical Truth: The Representation of Historical Persons in Tudor-Stuart Writing (New Haven: Yale University Press, 1984), 77. 28. Levy, Tudor Historical Thought, 170. 29. Ibid., 63, wherein...
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