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Franziska Quabeck

Towards the end of Troilus and Cressida , Thersites captures the essence of the play in a single cynicism: ‘If the son of a whore fight for a whore, he tempts judgement’ (5.7.21–22). 1 Thersites means tempting fate, i.e. the Gods, but his words

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'What verse for it? What instance for it?'

Authority, Closure, and the Endings of Troilus and Cressida in Text and Performance

Roger Apfelbaum

Barbara Bowen’s perceptive reading revels in the relationship between Troilus’ final speeches and Pandarus’ final appearance, but many critics, bibliographers, and editors have argued that the ending printed in both Q (1609) and F (1623) may be only one of the ways the play ended. There is a long history of speculation that Troilus and Cressida was revised, and that the ending may have been altered, perhaps for different audiences. The theories of editors and bibliographers can be read alongside the play’s theatre history, revealing how the heroism and scurrility that Bowen describes have been emphasised and diminished in different literary, theatrical, and social climates. I am particularly interested in exploring the play’s multiple and disruptive movements of closure, and the ways in which changing notions of an ‘authentic Shakespeare’ have been evoked in the critical responses to originary and modern texts and performances.

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The Tortured Signifier

Satire, Censorship, and the Textual History of Troilus and Cressida

Roger Stritmatter

Why does the 1609 quarto of Troilus and Cressida exist in two states, each with a distinct title page (S1 and S2, Figure One)? Surely this textual doubling is the most conspicuous illustration of W.W. Greg’s admonition that Troilus is a ‘play of puzzles, in respect of its textual history no less than its interpretation’. Despite more than a century of speculation, contemporary criticism seems no closer to a satisfying solution. Traditionally, answers have focused on hypothetical market-driven preferences of the publishers, Richard Bonian and Henry Whalley: S1’s reference to performance at the Globe theatre is false because it was ‘unlikely that this play was ever performed to an audience at the Globe’ and the preface to S2 constitutes ‘an assurance that the play was designed for some private occasion or company’. Or the publishers supposed that having two different states of the title page would incite publicity and ‘stimulate sales’, or one publisher, for some unidentified reason, preferred one title page, and the other, another. Or ‘they decided to avoid a copyright dispute with His Majesty’s Servants by leaving them unnamed either in the title or the epistle’, or ‘they discovered after printing was under way that the play had held the stage only briefly but had attracted a sophisticated following’. No wonder that William Godshalk has recently chastised Troilus critics for substituting unverifiable speculation for sober interpretation of factual evidence, encouraging a disciplined return to a ‘facts first, then interpretation’ inquiry model.

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John Drakakis

relation to a range of Shakespearean texts. For example, the question of ‘reciprocity’ and its difficulties is central to Romeo and Juliet ; the nature of exchange and the concept of ‘value’ become the focus of attention in Troilus and Cressida ; and in

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Elizabeth Hoyt and Gašper Jakovac

be gained from going to war greater than the cost? In her article for this special issue, ‘Shakespeare’s Unjust Wars’, Quabeck explores this problem in much more detail, focusing on debates about honour and the cost of war in Troilus and Cressida

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From Villainous Letch and Sinful Outcast, to “Especially Beloved of God”

Complicating the Medieval Leper through Gender and Social Status

Christina Welch and Rohan Brown

stews.” 22 This notion was represented in vernacular culture in characters such as the sex-crazed lepers in Shakespeare’s Troilus and Cressida 23 and the lepers in the medieval romance Tristan and Isolde , who suggest that the adulterous Isolde be

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Teatrum Mundi

Teaching Shakespeare Performance to Israeli Medical Students

Rebecca Gillis

The Winter’s Tale and Thersites’ graphic, pathology-laden lines in Troilus and Cressida are but a few examples. 11 I am less interested in these, however, than in transgression of the threshold between the play of the world and the world of the

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John V. Nance

translations by Phaer, Twyne and Stanyhurst. It is commonly suggested that Shakespeare used one or more of these editions as verbal sources in Titus , Venus and Adonis , Troilus and Cressida , Antony and Cleopatra and The Tempest . Other critics have

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Douglas Bruster

Shakespeare Topics (Oxford: Oxford University Press, 2007), which examines the printing of Q1 and Folio Troilus and Cressida ; and David L. Gants, ‘Mine of Debt: William White and the Printing of the 1602 Spanish Tragedy … with new additions ’, in The New

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[I] ‘did write this Wyll with my own hand’

Simulation and Dissimulation in Isabella Whitney’s ‘Wyll and Testament’

Vassiliki Markidou

as Shakespeare, in his Troilus and Cressida . Heather James, Shakespeare's Troy: Drama, Politics and the Translation of Empire (Cambridge: Cambridge University Press, 2007), 22. 17 Rex Butler, Jean Baudrillard: The Defense of the Real (London