THE NEW CAMBRIDGE SHAKESPEARE

GENERAL EDITOR
Brian Gibbons, University of Münster

ASSOCIATE GENERAL EDITOR
A. R. Braunmuller, University of California, Los Angeles

From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood.

THE WINTER’S TALE

The Winter’s Tale is one of Shakespeare’s most varied, theatrically self-conscious and emotionally wide-ranging plays. This edition provides a newly edited text, a comprehensive introduction that takes into account current critical thinking, and a detailed commentary on the play’s language designed to make it easily accessible to contemporary readers. Much of the play’s copiousness inheres in its generic intermingling of tragedy, comedy, romance, pastoral and the history play. In addition to dates and sources, the introduction attends to iterative patterns, the nature and cause of Leontes’ jealousy, the staging and meaning of the bear episode and the thematic and structural implications of the figure of Time. Special attention is paid to the ending and its tempered happiness. Performance history is integrated throughout the introduction and commentary. Textual analysis, four appendices – including the theatrical practice of doubling and a select chronology of performance history – and a reading list complete the edition.

THE NEW CAMBRIDGE SHAKESPEARE

All’s Well That Ends Well, edited by Russell Fraser
Antony and Cleopatra, edited by David Bevington
As You Like It, edited by Michael Hattaway
The Comedy of Errors, edited by T. S. Dorsch
Coriolanus, edited by Lee Bliss
Cymberline, edited by Martin Butler
Hamlet, edited by Philip Edwards
Julius Caesar, edited by Marvin Spevack
King Edward Ⅲ, edited by Giorgio Melchiori
The First Part of King Henry Ⅳ, edited by Herbert Weil and Judith Weil
The Second Part of King Henry Ⅳ, edited by Giorgio Melchiori
King Henry Ⅴ, edited by Andrew Gurr
The First Part of King Henry Ⅵ, edited by Michael Hattaway
The Second Part of King Henry Ⅵ, edited by Michael Hattaway
The Third Part of King Henry Ⅵ, edited by Michael Hattaway
King Henry Ⅷ, edited by John Margeson
King John, edited by L. A. Beaurline
The Tragedy of King Lear, edited by Jay L. Halio
King Richard Ⅱ, edited by Andrew Gurr
King Richard Ⅲ, edited by Janis Lull
Macbeth, edited by A. R. Braunmuller
Measure for Measure, edited by Brian Gibbons
The Merchant of Venice, edited by M. M. Mahood
The Merry Wives of Windsor, edited by David Crane
A Midsummer Night’s Dream, edited by R. A. Foakes
Much Ado About Nothing, edited by F. H. Mares
Othello, edited by Norman Sanders
Pericles, edited by Doreen DelVecchio and Antony Hammond
The Poems, edited by John Roe
Romeo and Juliet, edited by G. Blakemore Evans
The Sonnets, edited by G. Blakemore Evans
The Taming of the Shrew, edited by Ann Thompson
The Tempest, edited by David Lindley
Timon of Athens, edited by Karl Klein
Titus Andronicus, edited by Alan Hughes
Troilus and Cressida, edited by Anthony B. Dawson
Twelfth Night, edited by Elizabeth Story Donno
The Two Gentlemen of Verona, edited by Kurt Schlueter
The Winter's Tale, edited by Susan Snyder and Deborah T. Curren-Aquino

THE EARLY QUARTOS
The First Quarto of Hamlet, edited by Kathleen O. Irace
The First Quarto of King Henry Ⅴ, edited by Andrew Gurr
The First Quarto of King Lear, edited by Jay L. Halio
The First Quarto of King Richard Ⅲ, edited by Peter Davison
The First Quarto of Othello, edited by Scott McMillin
The Taming of a Shrew: The 1594 Quarto, edited by Stephen Roy Miller
The First Quarto of Romeo and Juliet, edited by Lukas Erne

THE WINTER’S TALE

Edited by

SUSAN SNYDER

AND

DEBORAH T. CURREN-AQUINO
Folger Shakespeare Library

CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo

Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org
Information on this title: www.cambridge.org/9780521293730

© Cambridge University Press 2007

This publication is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without
the written permission of Cambridge University Press.

First published 2007

Printed in the United Kingdom at the University Press, Cambridge

A catalogue record for this publication is available from the British Library

ISBN 13 978 0 521 22158 0 hardback
ISBN 13 978 0 521 29373 0 paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or
third-party internet websites referred to in this publication, and does not guarantee that any content on such
websites is, or will remain, accurate or appropriate.

IN MEMORY OF SUSAN SNYDER
AND
WITH GRATITUDE TO ALL FROM WHOM WE HAVE LEARNED ALONG THE WAY

Contents

ILLUSTRATIONS

1		The miracle of Theophilus, from a fourteenth-century Book of Hours	4
2		Act 2, scene 1: Olivia Birkelund (Hermione), James Bonilla (Mamillius), and Diana LaMar (Lady/Emilia) from Irene Lewis’s 2002 production for Center Stage. Richard Anderson, photographer	6
3		Act 2, scene 1: Cliff Chamberlain (Leontes), Becky Peters (Hermione), and Kelli Holsopple (Mamillius), from Ralph Cohen’s 2002 production for Shenandoah Shakespeare’s American Shakespeare Center. Tommy Thompson, photographer	6
4		‘Thou met’st with things dying, I with things newborn’ (), from Andrea Alciati,  . . . Emblemata . . ., 1661	8
5		Post-interval opening image of Act 4, scene 1: Laurence O’Dwyer (Old Shepherd/Time), David Steinberg (Bohemian servant), and Warren ‘Wawa’ Snipe (Bear) carrying Karen Hansen (Dorcas), from Irene Lewis’ 2002 production for Center Stage. Richard Anderson, photographer	9
6		Act 1, scene 2: Judi Dench (Hermione), Barry Ingham (Leontes), and Jeremy Richardson (Mamillius), from Trevor Nunn’s 1969 production, Stratford-upon-Avon. Tom Holte Theatre Photographic Collection	10
7		Act 1, scene 2: Brian Bedford (Leontes), Margot Dionne (Hermione), and Ted Follows (Polixenes), with members of the Festival Company, from Robin Phillips and Peter Moss’s 1978 production for the Stratford Festival of Canada. Daphne Dare with Michael Maher, designers; Robert C. Ragsdale, photographer	11
8		Act 2, scene 3: Stephen Patrick Martin (Second Lord), Ralph Cosham (Antigonus), John Lescault (First Lord), and Tana Hicken (Paulina), from Michael Kahn’s 2002 production for The Shakespeare Theatre. Richard Termine, photographer	12
9		Act 3, scene 3 (Antigonus’ dream on the coast of Bohemia): Ralph Cosham (Antigonus) and Lise Bruneau (Hermione), from Michael Kahn’s 2002 production for The Shakespeare Theatre, Washington, D.C. Richard Termine, photographer	13
10		Act 4, scene 3: Richard McCabe (Autolycus), from Adrian Noble’s 1992 production, Stratford-upon-Avon. Malcolm Davies Collection	14
11		A satyrs’ masque, from The Plays of Shakespeare, edited by George Steevens, 1793	15
12		Act 4, scene 4: ritual dance by Warren ‘Wawa’ Snipe as a substitute for the satyrs’ dance, from Irene Lewis’s 2002 production for Center Stage. Richard Anderson, photographer	15
13		Time pointing to the twenty-fourth hour on a clock, from Giuseppi Maria Mitelli, Le Ventiquattr’ hore dell’humana felicita . . ., 1675	16
14		Time as cyclic, seasonal, and diurnal, from Moralia Horatiana, 1656 (engraving from 1607) (1963 facsimile edition)	17
15		Mount Etna, from Gabriel Rollenhagen, Nucleus emblematum selectissimorum . . ., 1611	18
16		The masks of tragedy and comedy at the beginning of Ingmar Bergman’s 1994 production for the Royal Dramatic Theatre of Sweden, Stockholm. Bengt Wanselius, photographer	25
17		Act 1, scene 2: John Gielgud as Leontes, from Peter Brook’s 1951 production, London. Angus McBean, photographer, Harvard Theatre Collection	27
18		Act 1, scene 2: Lise Bruneau (Hermione) and Brent Harris (Polixenes), from Michael Kahn’s 2002 production for The Shakespeare Theatre, Washington, DC. Richard Termine, photographer	29
19		The Triumph of Time, from Francesco Petrarca, Opera, 1508	35
20		Roberto Conte (Mamillius), from Michael Kahn’s 1987 production for The Shakespeare Theatre, Washington, DC. Joan Marcus, photographer	36
21		Act 4, scene 1: Emery Battis as Time, from Michael Kahn’s 2002 production for The Shakespeare Theatre, Washington, DC. Richard Termine, photographer	39
22		Act 5, scene 1: Börje Ahistedt (Leontes), Bibi Andersson (Paulina), and Gerd Hagman (Abbess), from Ingmar Bergman’s 1994 production for the Royal Dramatic Theatre of Sweden, Stockholm. Bengt Wanselius, photographer	43
23		Act 5, scene 1: Mireille Enos (Perdita), Jeremiah Wiggins (Florizel), and Philip Goodwin (Leontes), from Michael Kahn’s 2002 production for The Shakespeare Theatre, Washington, DC. Richard Termine, photographer	45
24		Act 3, scene 2 (trial scene): Brian Bedford (Leontes), Martha Henry (Paulina), Rod Beattie, Peter Hutt, and Gregory Wanless (Lords), and James McGee (Attendant), from Robin Phillips and Peter Moss’s 1978 production for the Stratford Festival of Canada. Daphne Dare with Michael Maher, designers; Robert C. Ragsdale, photographer	48
25		Act 5, scene 3 (statue scene): Brian Bedford (Leontes), Margot Dionne (Hermione), Martha Henry (Paulina), Marti Maraden (Perdita), and Stuart Arnott (Florizel), from Robin Phillips and Peter Moss’s 1978 production for the Stratford Festival of Canada. Daphne Dare with Michael Maher, designers; Robert C. Ragsdale, photographer	50
26		Act 5, scene 3 (statue scene): Caitlin O’Connell (Paulina), Olivia Birkelund (Hermione), Jon DeVries (Leontes), and Tina Jones (Perdita), from Irene Lewis’s 2002 production for Center Stage. Richard Anderson, photographer	50
27		Act 5, scene 3 (statue scene): Pernilla August (Hermione), Borje Ahistedt (Leontes), and Krister Henriksson (Polixenes), from Ingmar Bergman’s 1994 production for Royal Dramatic Theatre of Sweden, Stockholm. Bengt Wanselius, photographer	51
28		Act 5, Scene 3 (Leontes–Hermione reunion): John Gielgud (Leontes) and Diana Wynyard (Hermione), from Peter Brook’s 1951 production, London. Angus McBean, photographer, Harvard Theatre Collection	54
29		Act 5, scene 3 (Leontes–Hermione reunion): Douglas Hodge (Leontes) and Anastasia Hille (Hermione), from Matthew Warchus’s 2002 production for the Roundhouse Theatre, London. Malcolm Davies Collection	55
30		Title page of Robert Greene’s Pandosto (1592 edition)	69

Illustration 1 by permission of the Walters Art Museum; 2, 5, 12, and 26 by permission of Center Stage and the photographer, Richard Anderson; 3 by permission of the Shenandoah Shakespeare’s American Shakespeare Center; 4, 11, 13, 15, 19, and 30 by permission of the Folger Shakespeare Library; 6, 10, and 29 by permission of the Shakespeare Centre Library, Stratford-upon-Avon; 7, 24, and 25 by permission of the Stratford Festival of Canada Archives; 8, 9, 18, 20, 21, and 23 by permission of The Shakespeare Theatre; 14 by permission of the Library of Congress; 16, 22, and 27 by permission of the photographer, Bengt Wanselius; 17 and 28 by permission of the Harvard Theatre Collection.

ACKNOWLEDGEMENTS

Originally this edition of The Winter’s Tale was to have been edited solely by the eminent Susan Snyder. Serious illness, however, forced her to relinquish that role, but not before she completed the text, textual analysis, and basic draft of the collations. She also left behind a body of notes, which contained insightful observations and probing queries – no surprise to the many students of Shakespeare who have benefited from her splendid scholarship, whether in the classroom, conference lectures, publications, or, as was so often the case, brilliant conversations over tea. I was both honoured and humbled by her recommendation, followed by A. R. Braunmuller’s gracious invitation, that I take over the edition. The opportunity to continue where she left off has allowed me to enter into a posthumous collaboration with someone whose ideas – shared generously in the months before she died and through the aforementioned notes – have greatly enhanced my own understanding of Shakespeare’s vast romance. The introduction, textual note, textual commentary, supplementary notes, and appendixes fell to me; the collations, in the end, represent a joint venture. The text remains essentially Susan’s, with some further stage directions and modifications. On the rare occasion where I have opted for a different emendation, Susan’s has been cited in the commentary. Whatever in this edition might be considered most illuminating and truly fine in content and/or expression belongs to Susan and to the series’ exemplary associate general editor, A. R. Braunmuller. His sharp eye and cogent criticism – always expressed with unfailing tact, encouragement, and good humour – have saved me from frequent embarrassment. Any errors, omissions, and infelicities of style that remain are my own.

All editions build on those that have come before and this volume is no exception. The commentary attests to my indebtedness to all who have richly dialogued with the play, especially H. H. Furness, J. H. P. Pafford, Ernest Schanzer, Stephen Orgel, Barbara Mowat and Paul Werstine. Since 1995 I have been privileged to assist Barbara and Paul on the New Folger Shakespeare editions and from them I have learned so much. I am also in their debt for the many times in which they directed me to materials that were proving recalcitrant to my own investigative skills, and for so graciously accommodating my deadlines in the midst of their own.

Special thanks to supportive colleagues and friends who, in addition to giving encouragement, have often generously shared ideas, observations, memories of productions seen, research, pre-published material, and actual publications: Peter W. M. Blayney, Joseph Candido, Ralph Cohen, E. Catherine Dunn, Charles Forker, R. C. Hood, Mary Ellen Lamb, Barbara Mowat, Gail Kern Paster, Catherine Shaw, Meredith Skura, Leslie Thomson, Virginia Vaughan, Paul Werstine and Douglas B. Wilson. Two individuals deserving special mention are Robert Turner and Patricia Parker. Although Turner’s wonderful variorum edition was published after the bulk of our own work was completed, both Susan and I benefited enormously from his kind sharing of textual commentary in manuscript form. Parker also shared with me not only crucial essays but also drafts of chapters for a forthcoming book on Shakespeare’s language; her fine ear for homonymic patterns and keen insights into the play’s emphasis on images of pregnancy and commerce have informed my own thinking in many instances. I would be remiss in not paying tribute to the scholarship and vision of June Schlueter and the late Jim Lusardi who in founding the Shakespeare Bulletin allowed me the opportunity to visit in the mind’s eye numerous productions of The Winter’s Tale, details of which have been incorporated throughout this edition.

To be able to work at the Folger Shakespeare Library and have the opportunity to call on the services of its superb staff is a scholar’s dream which for me was an everyday reality. The words ‘thank you’ seem so inadequate when it comes to acknowledging Georgianna Ziegler, the immensely gifted reference librarian, who, on the rare occasion when she does not have an immediate answer to a vexing question, is relentless in finding it and pursuing all possible avenues of research. And then there is the amazing Betsy Walsh, head of reader services, and her terrific staff – especially LuEllen DeHaven, Rosalind Larry, Harold Batie, and Camille Seerattan – who are tirelessly committed to easing the scholar’s work. I owe a great debt to Solvei Robertson and Rachel Kunkle, present and former members of the staff of the Academic Programs Division for extensive help with computer disks, pictures, and directory assistance. In an acute hour of need, Solvei, ever thoughtful and resourceful, really came through.

In the summer of 1998 I gave a week-long seminar on the play to the Benedictine Community of the Abbey of Regina Laudis, Bethlehem, CT. Many of my ideas enjoyed vigorous dialogue with the nuns, all of whom shared their enthusiasm for the play and insights born of their contemplative spirit. I am especially grateful to the late Lady Abbess Benedict Duss, Mother Abbess David Serna, Mother Prioress Dolores Hart, Mother Subprioress Maria Immaculata Matarese, and Mother Lucia Kuppens, a fellow Shakespearean whose love for the Bard has not abated in the years since she left academia for the cloister. Gardening with Mother Margaret Georgina Patton, tending sheep with Mother Jadwiga Makarewicz, and working with my many friends from the dairy barn enabled me to live the pastoral richness of the play in ways that I otherwise would never have experienced.

To see The Winter’s Tale through the choice-making process of rehearsals and the continued fine-tuning of the actual run was my good fortune thanks to Michael Kahn who directed the play for the Shakespeare Theatre in Washington, D.C. in 2002. The opportunity to be present while director and actors wrestled with every word and line helped clarify the play’s verbal and visual language in ways that inform both the introduction and textual commentary. I remain enormously appreciative of Michael and the entire company who warmly welcomed an academician into their midst, and to Dawn McAndrews of the theatre’s education department for facilitating the arrangement. My conversations with Lise Bruneau (Hermione) and Tana Hicken (Paulina) were particularly helpful.

For the illustrations found in this volume, I am grateful to the following: first and foremost, Jean Miller, former art curator at the Folger whose memory bank of pictures is phenomenal; Julie Ainsworth and Bettina Smith of the Folger’s photography department; Liz Stark and Lauren Beyea, public relations associates, the Shakespeare Theatre, Washington, D.C.; Ellen Charendoff, archives assistant, Stratford Festival of Canada Archives; Kate Lau of the Walters Art Museum; Katie Byrnes, company manager, and Richard Anderson, photographer, Center Stage; Helen Hargest and Sylvia Morris, the Shakespeare Centre Library, Stratford-upon-Avon; Lucien Riviere, press office, Royal Shakespeare Theatre; Deona Houff and Brian J. Ososky, marketing and public relations associates, Shenandoah Shakespeare’s American Shakespeare Center; Irina Tarsis, curatorial assistant, Harvard Theatre Collection; Ulrika Nilsdotter Geiger, press manager, and Bengt Wanselius, photographer, Royal Dramatic Theatre of Sweden; Jennifer Lam, publicity staff, Brooklyn Academy of Music; and Elizabeth Wehrle, press manager, The Public Theater, New York Shakespeare Festival. My thanks also to Harry Regan for help with computer problems and for putting several photographs into electronic form.

I am deeply indebted to Cambridge University Press: to Brian Gibbons, the general editor for his faith and support from afar; to Sarah Stanton whose encouragement, patience, and consummate courtesy have been a constant blessing; and to the production editor, Alison Powell, and the copy-editor, Susan Beer, for improving every page.

Finally, eternal thanks to my second mother, Philomena Aquino, for her understanding and enthusiastic interest in the project, and to two individuals who have lived it with me on a daily basis and for whom I know these last few years have seemed like a never-ending winter’s tale: my dear mother, Adelaide Curren, who never needs to be reminded to awake her faith and whose optimism, insights, and prayerful support are the kind that only a mother can offer; and my wonderful husband John Aquino, whose perceptive eye and ear know no limits, whose energy and tenacity in tracking down leads and rare publications never cease to amaze, and whose generosity of self and time is always demonstrated with infinite good cheer. To him, who forever ‘makes a July’s day short as December’ and whose ‘worth and honesty’ could well ‘be justified by . . . a pair of kings’, I can now happily promise evening constitutionals in which the topic of conversation will be something other than The Winter’s Tale. And last, but never least, to my father, Robert, grace and remembrance always.

Deborah T. Curren-Aquino

ABBREVIATIONS AND CONVENTIONS

Shakespeare’s plays, when cited in this edition, are abbreviated in a style modified slightly from that used in the Harvard Concordance to Shakespeare. Other editions of Shakespeare are abbreviated under the editor’s surname (Orgel, Schanzer) unless they are the work of more than one editor. In such cases, an abbreviated series name is used (Cam., Folger). When more than one edition by the same editor is cited, later editions are discriminated with a raised figure (Collier²). All quotations from Shakespeare, other than those from The Winter’s Tale, use the lineation of The Riverside Shakespeare, under the textual editorship of G. Blakemore Evans.

1. Shakespeare’s works

2. Other works cited and general references

Works mentioned once in the Commentary, the Introduction, and the Appendices appear there with full bibliographical information; others are either cited by the shortened titles below or may be found in the Reading List. References to productions mentioned more than once appear under the director’s surname (e.g., Howell, Noble); unless otherwise noted, all references to Kahn are to his 2002 revival. Theatre venues and companies are included below.

Abbott	E. A. Abbott, A Shakespearian Grammar, 3rd edn, 1870 (References are to numbered sections)
Adelman	Janet Adelman, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare’s Plays, Hamlet to the Tempest, 1991
adj	adjective
adv	adverb
Alexander	The Winter’s Tale in William Shakespeare: The Complete Works, ed. Peter Alexander, 1951
Alfreds	Mike Alfreds, Lyric Theatre, Hammersmith, 1997
Ames	Winthrop Ames, New Theatre, New York, 1910
Anderson	Mary Anderson, Lyceum, London, 1887
Andrews	The Winter’s Tale, ed. John F. Andrews, Everyman Shakespeare, 1995
Andrews, World	John F. Andrews, ed. William Shakespeare: His World, His Works, His Influence, 3 vols., 1985
APT	American Players Theatre
Armstrong	Alan Armstrong, review of Syer’s 1996 WT, ShakB 15.2 (1997), 30–32
BAM	Brooklyn Academy of Music
Barkan	Leonard Barkan, ‘“Living Sculptures”: Ovid, Michaelangelo, and The Winter’s Tale’, ELH 48 (1981), 639–67
Barnet	Sylvan Barnet, ‘The Winter’s Tale on the Stage’ (in Kermode, 231–45)
Bartholomeusz	Dennis Bartholomeusz, The Winter’s Tale in Performance in England and America, 1611–1976, 1982
Bate	Jonathan Bate, Shakespeare and Ovid, 1993
BCP	Book of Common Prayer
Bedford	Brian Bedford, Stratford Festival of Canada, Ontario, 1998
Belsey	Catherine Belsey, Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture, 1999
Bennett	Kenneth Bennett, ‘Reconstructing The Winter’s Tale’, S. Sur. 46 (1994), 81–90
Bergman	Ingmar Bergman, Royal Dramatic Theatre of Sweden, Stockholm, 1994 (on tour in the United States at BAM, 1995)
Berry	Ralph Berry, review of Phillips’s 1978 WT, SQ 30 (1979), 168–70
Bethell	The Winter’s Tale, ed. S. L. Bethell, New Clarendon Shakespeare, 1956
Bethell, Study	Samuel L. Bethell, The Winter’s Tale: A Study, 1947
Bevington	The Winter’s Tale in The Complete Works of Shakespeare, ed. David Bevington, 1980
Bevington, Action	David Bevington, Action Is Eloquence: Shakespeare’s Language of Gesture, 1984
Biggins	Dennis Biggins, ‘“Exit pursued by a Beare”: A Problem in The Winter’s Tale’, SQ 13 (1962), 3–13
Bishop	T. G. Bishop, Shakespeare and the theatre of wonder, 1996
Bloom	Harold Bloom, ed. The Winter’s Tale: Modern Critical Interpretations, 1987
Bohnen	James Bohnen, APT, Spring Green, Wisc., 2000
Boorman	The Winter’s Tale, ed. S. C. Boorman, English Literature Series, 1964
Brissenden	Alan Brissenden, Shakespeare and the Dance, 1981
Bristol	Michael D. Bristol, ‘In Search of the Bear: Spatiotemporal Form and the Heterogeneity of Economies in The Winter’s Tale’, SQ 42 (1991), 145–67
Brook	Peter Brook, Phoenix Theatre, London, 1951
Bullough	Geoffrey Bullough, ed., Narrative and Dramatic Sources of Shakespeare, 8 vols., 1957–75 (8:113–233)
Burton	William Burton, Burton’s Theatre, New York, 1856
Cahiers E	Cahiers Elisabethans
Cam.	The Winter’s Tale in The Works of William Shakespeare, ed. W. G. Clark and W. A. Wright, 9 vols., Cambridge Shakespeare, 1891–3 (vol. 3)
Campbell	Douglas Campbell, Stratford Festival of Canada, Ontario, 1958
Capell	The Winter’s Tale in Mr William Shakespeare, his Comedies, Histories and Tragedies, ed. Edward Capell, 10 vols., 1767–8 (vol. 4)
Capell, Notes	Notes and Various Readings in Shakespeare, 3 vols., 1779–83
Cavell	Stanley Cavell, ‘Recounting Gains, Showing Losses (A Reading of The Winter’s Tale)’, in Disowning Knowledge in Six Plays of Shakespeare, 1987
Cercignani	F. Cercignani, Shakespeare’s Works and Elizabethan Pronunciation, 1981
Chambers	E. K. Chambers, William Shakespeare: A Study of Facts and Problems, 2 vols., 1930
Charlton	The Winter’s Tale, ed. H. B. Charlton, Arden Shakespeare, 1916
Coghill	Nevill Coghill, ‘Six Points of Stage-Craft in The Winter’s Tale’, S. Sur. 11 (1958), 31–42
Cohen	Ralph Alan Cohen, Shenandoah Shakespeare’s American Shakespeare Center, Blackfriars Theater, Staunton, VA, 2002
Cole	J. W. Cole, The Life and Theatrical Times of Charles Kean F.S.A., 2 vols., 1859
Coleridge	The Collected Works of Samuel Taylor Coleridge 5: Lectures 1808–19 on Literature, ed. R. A. Foakes, Bollingen Series 75, 1987, 2 vols. (All references are to Lecture 4 in Coleridge’s 1813 Lectures on Shakespeare.)
Collier	The Winter’s Tale in The Works of William Shakespeare, ed. John P. Collier, 8 vols., 1842–4 (vol. 3)
Collier2	The Winter’s Tale in The Plays of Shakespeare, ed. John P. Collier, 1853
Companion	William Shakespeare: A Textual Companion, Stanley Wells and Gary Taylor, with John Jowett and William Montgomery, 1997
CompD	Comparative Drama
conj.	conjecture, conjectured by
Cowden-Clarke	The Winter’s Tale in The Works of William Shakespeare, ed. Charles and Mary Cowden-Clarke, 3 vols., 1864–9 (vol. 1)
Craig	Works of Shakespeare, ed., William J. Craig, 1891
Dash	Irene Dash, ‘A Penchant for Perdita on the Eighteenth-Century Stage’, in The Woman’s Part: Feminist Criticism of Shakespeare, ed. Carolyn Ruth Swift Lenz, Gayle Greene, and Carol Thomas Neely, 1980
J. Davis	Joel Davis, ‘Paulina’s Paint and the Dialectic of Masculine Desire in the Metamorphoses, Pandosto, and [WT]’, PLL 39 (2003), 115–43
M. Davis	Montgomery Davis, WSF, 1997
De Grazia	Margreta De Grazia, ‘Homonyms Before and After Lexical Standardization’, SJH 1990, 143–56
Deighton	The Winter’s Tale, ed. Kenneth Deighton, Deighton’s Grey Cover Shakespeare, 1889
Dent	Robert W. Dent, Shakespeare’s Proverbial Language: An Index, 1981 (references are to proverbs by letter and number)
Dessen	Alan Dessen, ‘Massed Entries and Theatrical Options in WT,’ MRDE 8 (1996), 119–27
Dessen-Thomson	Alan Dessen and Leslie Thomson, A Dictionary of Stage Directions in English Drama, 1580–1642, 1999
Dolan	The Winter’s Tale, ed. Frances E. Dolan, Pelican Shakespeare, 1999
Donnellan	Declan Donnellan, Maly Drama Theatre, St Petersburg, 1997 (on tour in Plymouth, England, 1999)
Doran	Gregory Doran, RSC, Stratford-upon-Avon, 1999
Douce	The Works of William Shakespeare, ed. Francis Douce, 1807
Douce, Illustrations	Francis Douce, Illustrations of Shakespeare, and of ancient manners with dissertations on the clowns and fools of Shakespeare, 1807
Draper	R. P. Draper, The Winter’s Tale: Text and Performance, 1985
Dunlop	Frank Dunlop, Cressida Productions/Warner Bros., 1968 film
Dyce	The Winter’s Tale in The Works of William Shakespeare, ed. Alexander Dyce, 6 vols., 1857 (vol. 3)
Dyce2	The Winter’s Tale in The Works of William Shakespeare, ed. Alexander Dyce, 9 vols., 1864–7 (vol. 3)
Dyce3	The Winter’s Tale in The Works of William Shakespeare, ed. Alexander Dyce, 9 vols., 1875–6 (vol. 3)
Edelstein	Barry Edelstein, Classic Stage Co., New York, 2003
Eggert	Katherine Eggert, Showing Like a Queen: Female Authority and Literary Experiment in Spenser, Shakespeare, and Milton, 2000
ELH	English Literary History
ELN	English Language Notes
ELR	English Literary Renaissance
Enterline	Lynn Enterline, ‘“You speak a language that I understand not”: The Rhetoric of Animation in [WT]’, SQ 48 (1997), 17–44
Erickson	Peter Erickson, ‘Patriarchal Structures in The Winter’s Tale’, PMLA 97 (1983), 819–29
ES	English Studies
Evans	Hugh Evans, OSF, Ashland, Ore., 1965
Ewbank	Inga-Stina Ewbank, ‘From Narrative to Dramatic Language: The Winter’s Tale and Its Source’, in  Shakespeare and the Sense of Performance: Essays in the Tradition of Performance Criticism in Honor of Bernard Beckerman, ed. Marvin Thompson and Ruth Thompson, 1989, pp. 29–47
Ewbank, ‘Triumph’	Inga-Stina Ewbank, ‘The Triumph of Time in The Winter’s Tale’, Review of English Literature 5 (1964), 83–100; rpt. in Hunt, 139–55
Eyre	Ronald Eyre, RSC, Stratford-upon-Avon, 1981
F	Mr. William Shakespeares Comedies, Histories, and Trage- dies, 1623 (First Folio)
F2	Mr. William Shakespeares Comedies, Histories, and Trage- dies, 1632 (Second Folio)
F3	Mr. William Shakespear’s Comedies, Histories, and Trage- dies, 1663–4 (Third Folio)
F4	Mr. William Shakespear’s Comedies, Histories, and Tragedies, 1685 (Fourth Folio)
Faucit	Helena Faucit, Lady Martin, On Some of Shakespeare’s Female Characters, 5th edition, 1893
Felperin	Howard Felperin, Shakespearean Romance, 1972
Felperin, ‘Tongue-tied’	Howard Felperin, ‘“Tongue-tied Our Queen”: The Deconstruction of Presence in The Winter’s Tale’, in Shakespeare and the Question of Theory, eds. Patricia Parker and Geoffrey Hartman, 1985, pp. 3–18
Fischer	Sandra Fischer, Econolingua: A Glossary of Coins and Economic Language in Renaissance Drama, 1985
Folger	The Winter’s Tale, ed. Barbara Mowat and Paul Werstine, New Folger Library Shakespeare, 1998
Freeman	David Freeman, New Globe, London, 1997
Furness	The Winter’s Tale, ed. H. H. Furness, The New Variorum Shakespeare, vol. 19, 1898
Gill	The Winter’s Tale, ed. Roma Gill, Oxford School Shakespeare, 1996
Globe	The Works of William Shakespeare, ed. William Clark and W. H. Wright, The Globe Edition, 1864
Golding	Arthur Golding, trans., Ovid’s Metamorphoses, 1567
Goodland	Katharine Goodland, review of Rowan’s 2002 WT, ShakB 20.3 (2002), 20–1
Gourlay	Patricia Southard Gourlay. ‘“O My Most Sacred Lady”: Female Metaphor in The Winter’s Tale’, ELR 5 (1975), 375–95; rpt. in Hunt, 258–79
Granville-Barker	Harley Granville-Barker, Savoy Theatre, London, 1912
Granville-Barker, ‘Preface’	Harley Granville-Barker, ‘Preface to The Winter’s Tale’, in Prefaces to Shakespeare, 1st series, 1927; rpt. in Hunt, 76–81
Greene	Robert Greene, Pandosto, 1588
Gurr	Andrew Gurr, ‘The Bear, the Statue, and Hysteria in The Winter’s Tale’, SQ (1983), 420–25
E. Hall	Edward Hall, Propeller Company, Watermill Theatre (UK) and on tour in the United States, 2005
Hall	Peter Hall, Royal National Theatre, London, 1988
Hands	Terry Hands, RSC, Stratford-upon-Avon, 1986
Hanmer	The Winter’s Tale in The Works of Shakespeare, ed. Thomas Hanmer, 6 vols., 1743–4 (vol. 2)
Happé	Peter Happé, Notes on The Winter’s Tale, 1969
Heath	Benjamin Heath, A Revisal of Shakespeare’s Text, 1765
Henley	Samuel Henley (comments in Steevens 1793)
H&S	Ben Jonson, edited by C. H. Herford and Percy and Evelyn Simpson, 11 vols., 1925–52 (vols. 2, 7 and 10)
Hinman	The Norton Facsimile of the First Folio of Shakespeare, prepared by Carlton Hinman (1968), 2nd edn, 1996 (with new introduction by Peter W. M. Blayney)
Hoeniger	F. David Hoeniger, Medicine and Shakespeare in Renaissance England, 1992
Holland	Peter Holland, review of Donnellan’s 1999 WT, TLS, 21 May 1999
Honigmann	E. A. J. Honigmann, ‘Re-enter the Stage Direction: Shakespeare and Some Contemporaries’, S. Sur. 29 (1976), 117–25
Honigmann, ‘Stability’	E. A. J. Honigmann, The Stability of Shakespeare’s Text, 1965
Howard-Hill	T. H. Howard-Hill, Ralph Crane and Some Shakespeare First Folio Comedies, 1972
Howard-Hill, ‘Editor’	T. H. Howard-Hill, ‘Shakespeare’s Earliest Editor, Ralph Crane,’ S. Sur.44 (1991), 113–29
Howell	Jane Howell, BBC-Time Life, 1980 television film
Hudson	The Winter’s Tale in The Works of Shakespeare, ed. H. N. Hudson, 11 vols., 1851–59 (vol. 4)
Hunt	Maurice Hunt, ed. The Winter’s Tale: Critical Essays, 1995
Hunt, ‘Bearing’	Maurice Hunt, ‘“Bearing Hence”: Shakespeare’s The Winter’s Tale’, SEL 44.2 (2004), 333–43
Hunter	R. G. Hunter, Shakespeare and the Comedy of Forgiveness, 1965
Hytner	Nicholas Hytner, Royal National Theatre, London, 2001
Hytner, ‘Behold’	Nicholas Hytner, ‘“Behold the swelling scene”: The theatrical consequence of Shakespeare’s addiction to truth’, TLS, 1 November 2002, 20–2
ISJR	Iowa State Journal of Research
Jackson	Russell Jackson, ‘Shakespeare at Stratford-upon-Avon: Summer and Winter, 2002–2003’, SQ 54 (2003), 167–85, esp. 174–6
Johnson	The Winter’s Tale in The Plays of William Shakespeare, ed. Samuel Johnson, 8 vols., 1765 (vol. 2)
Joseph	Sister Miriam Joseph, Shakespeare’s Use of the Arts of Language, 1947
Kahn (1975/76)	Michael Kahn, American Shakespeare Festival, Stratford, CT, 1975 (revived 1976)
Kahn (1987)	Michael Kahn, The Shakespeare Theatre, Washington, DC, 1987
Kahn (2002)	Michael Kahn, The Shakespeare Theatre, Washington, DC, 2002
Kean	Charles Kean, The Princess’s Theatre, London, 1856
Keightley	The Winter’s Tale in The Plays of William Shakespeare, ed. Thomas Keightley, 6 vols., 1864 (vol. 2)
Kellner	Leon Kellner, Restoring Shakespeare: A Critical Analysis of the Misreadings in Shakespeare’s Plays, 1925
Kemble	John Philip Kemble, Drury Lane, London, 1802 (revived 1807 and 1811 at Covent Garden)
Kennedy	Dennis Kennedy, Looking at Shakespeare: A Visual History of Twentieth-Century Performance, 1993
Kermode	The Winter’s Tale, ed. Frank Kermode, Signet Classic Shakespeare, 1988
Kittredge	The Complete Works of Shakespeare, ed. George Lyman Kittredge, 1936
Kittredge-Ribner	The Complete Works of Shakespeare, revised edn., ed. George Lyman Kittredge and Irving Ribner, 1971
Knight	The Winter’s Tale in The Pictorial Edition of the Works of Shakespeare, ed. Charles Knight, 8 vols., 1839–43 (vol. 2)
Kökeritz	Helge Kökeritz, Shakespeare’s Pronunciation, 1953
Kretzu	Jon Kretzu, Tygres Heart Shakespeare Company, Portland, OR, 1999
Kulick	Brian Kulick, NYSF, Central Park, New York, 2000
Jewett	Henry Jewett, Repertory Theatre, Boston, MA, 1929
Lamb	Mary Ellen Lamb, ‘Engendering the Narrative Act: Old Wives’ Tales in The Winter’s Tale, Macbeth, and The Tempest’, Criticism 40 (1998), 529–53
Lapine	James Lapine, NYSF, Public Theatre, New York, 1989
Lee	The Winter’s Tale in The Complete Works of William Shakespeare, 40 vols., ed. Sidney Lee, University Press Shakespeare, 1907
Levith	Murray Levith, What’s in Shakespeare’s Names, 1978
Lewis	Irene Lewis, Center Stage, Baltimore, MD, 2002
Lithgow	William Lithgow, The Totall Discourse of the Rare Aduentures and painefull Peregrinations of long nineteene Yeares Trauayles, from Scotland, to the most Famous Kingdomes in Europe, Asia, and Affrica (1906 edn., Glasgow: J. MacLehose)
Macready	William Macready, Drury Lane, London, 1823; revived Covent Garden (1837); Drury Lane (1843)
Mahood	M. M. Mahood, Bit Parts in Shakespeare’s Plays, 1992
Mahood, Wordplay	M. M. Mahood,  Shakespeare’s Wordplay, 1957
Malone	The Winter’s Tale in The Plays and Poems of William Shakespeare, ed. Edmond Malone, 10 vols., 1790 (vol. 4)
Marrapodi	Michele Marrapodi, ‘“Of that fatal country”: Sicily and the Rhetoric of Topography in The Winter’s Tale’, in  Shakespeare’s Italy: Functions of Italian Locations in Renaissance Drama, ed. Michele Marrapodi, A. J. Hoenselaars, Marcello Cappuzo, and Lino Falzon Santucci, 1993, 213–28
Mason	Monck Mason, Comments on the Last Edition of Shakespeare’s Plays [the Johnson-Steevens 1778 edn], 1785
Matchett	William Matchett, ‘Some Dramatic Techniques in The Winter’s Tale’, S.Sur. 22 (1969), 93–108
Maxwell	The Winter’s Tale, ed. Baldwin Maxwell, in the Pelican Complete Works of William Shakespeare, gen. ed. Alfred Harbage, rev. edn, 1969
McDonald	Russ McDonald, ‘Poetry and Plot in The Winter’s Tale’, SQ 36 (1985), 315–29; rpt. in Hunt, 298–318
McGuire	Philip McGuire,  Shakespeare: The Jacobean Plays, 1994
Miola	Robert Miola, ‘“An Alien People Clutching Their Gods”? Shakespeare’s Ancient Religions’, S. Sur. 54 (2001), 31–45
MLR	Modern Language Review
Moorman	The Winter’s Tale, ed. F. W. Moorman, Arden Shakespeare, 1912
Mowat	Barbara A. Mowat, ‘“What’s in a Name”: Tragicomedy, Romance, or Late Comedy,’ in A Companion to Shakespeare’s Works, 4 vols., ed. Richard Dutton and Jean Howard, 2004, 4: 129–49
Mowat, ‘Rogues’	Barbara A. Mowat, ‘Rogues, Shepherds, and the Counterfeit Distressed: Texts and Infracontexts in The Winter’s Tale’, S. St. 22 (1994), 58–76
MRDE	Medieval and Renaissance Drama in England
Muir and Schoenbaum	A New Companion to Shakespeare Studies, ed. Kenneth Muir and S. Schoenbaum, 1971
Mullin-Muriello	Michael Mullin and Karen M. Muriello, comps., Stratford-upon-Avon: A Catalogue-Index to Productions of the Shakespeare Memorial/Royal Shakespeare Theatre, 1879–1978, 2 vols., 1980
n	noun
n/nn	note/notes
National	Royal National Theatre, London
NCS	New Cambridge Shakespeare
Neely	Carol Thomas Neely, Broken Nuptials in Shakespeare’s Plays, 1985
Neilson	The Winter’s Tale in The Complete Dramatic and Poetic Works of William Shakespeare, ed. William A. Neilson, 1906
New Clar	New Clarendon edition
Newcomb	Lori Newcomb, review of Bohnen’s 2000 WT, ShakB 18.4 (2000), 27–8
NJSF	New Jersey Shakespeare Festival
NS	New Shakespeare
Noble	Adrian Noble, RSC, Stratford-upon-Avon, 1992 (on tour in US 1994)
R. Noble	Richmond Noble, Shakespeare’s Biblical Knowledge and Use
	of the Book of Common Prayer, 1935
R. Noble, Song	Richmond Noble, Shakespeare’s Use of Song with the Text of the Principal Songs, 1923
Norton	The Norton Shakespeare Based on the Oxford Edition, ed. Stephen Greenblatt, Walter Cohen, Jean E. Howard, and Katherine Eisaman Maus, 1997
N&Q	Notes and Queries
Nunn	Trevor Nunn, RSC, Stratford-upon-Avon, 1969
Nunn/Barton	Trevor Nunn/John Barton, RSC, Stratford-upon-Avon, 1976
Nuttall	A. D. Nuttall, ‘The Winter’s Tale: Ovid Transformed’, in Shakespeare’s Ovid: The Metamorphoses in the Plays and Poems, ed. A. B. Taylor, 2000, 135–49
NYSF	New York Shakespeare Festival
OED	Oxford English Dictionary, 2nd edn, 1989
Onions	C. T. Onions, A Shakespeare Glossary, 1911, rev. edn, 1953
Orgel	The Winter’s Tale, ed. Stephen Orgel, Oxford Shakespeare, 1996
Orgel, ‘Perspective.’	Stephen Orgel, ‘The Winter’s Tale: A Modern Perspective,’ in Folger
Orgel, ‘Poetics’	Stephen Orgel, ‘The Poetics of Incomprehensibility’, SQ 42 (1991), 431- 7
Orgel, ‘Ideal’	Stephen Orgel, ‘The Pornographic Ideal’, in Imagining Shakespeare: A History of the Texts and Visions, 2003, 112–44
OSF	Oregon Shakespeare Festival
Overton	Bill Overton, The Winter’s Tale (The Critics Debate), 1989
Ovid	Ovid, Metamorphoses, trans. Arthur Golding, 1567
Oxford	William Shakespeare: The Complete Works, ed. Stanley Wells, Gary Taylor, John Jowett, and William Montgomery, 1986
Pafford	The Winter’s Tale, ed. J. H. P. Pafford, Arden Shakespeare, 1963
Pandosto	Robert Greene, Pandosto: The Triumph of Time, 1588 (rpt. in Bullough, 8: 157–99)
PLL	Papers in Language and Literature
Partridge	Eric Partridge, Shakespeare’s Bawdy, rev. edn, 1969
Parker	Patricia Parker, ‘Sound Government, Polymorphic Bears:
	The Winter’s Tale and Other Metamorphoses of Eye and Ear’, in The Wordsworthian Enlightenment: Romantic Poetry and the Ecology of Reading, ed. Helen Regueiro Elam and Frances Ferguson, 2005, 172–90
Parker, ‘Promissory	Patricia Parker, ‘Temporal Gestation, Legal Contracts, and
Economies’	the Promissory Economies of The Winter’s Tale’, in Women, Property, and the Letters of the Law in Early Modern England, ed. Nancy E. Wright, Margaret W. Ferguson, and A. R. Buck, 2004, 26–49.
Parry	The Winter’s Tale, ed. Christopher Parry, Macmillan Students’ Shakespeare, 1982
Paster	Gail Kern Paster, The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England, 1993
PBSA	Papers of the Bibliographical Society of America
Phillips	Robin Phillips and Peter Moss, Stratford Festival of Canada, Ontario, 1978
Pierce	The Winter’s Tale, ed. Frederick Pierce, Yale Shakespeare, 1918
Pitcher	John Pitcher, ‘“Fronted with the Sight of a Bear”: Cox of Collumpton and The Winter’s Tale’, N&Q 41ns (1994), 47–53
Plutarch	The Philosophie, commonlie called, The Morals written by the learned Philospher Plutarch . . . translated out of Greeke into English . . . by Philemon Holland, 1603
PMLA	Publications of the Modern Language Association
Pope	The Winter’s Tale in The Works of Shakespeare, ed. Alexander Pope, 6 vols., 1723–5 (vol. 2)
Pope2	The Winter’s Tale in The Works of Shakespeare, ed. Alexander Pope, 8 vols., 1728 (vol. 3)
PQ	Philological Quarterly
Proudfoot	Richard Proudfoot, ‘Verbal Reminiscence and the Two-part Structure of The Winter’s Tale’, S. Sur. 29 (1976), 67–78; rpt. in Hunt, 280–97
Pyle	Fitzroy Pyle, ‘The Winter’s Tale’: A Commentary on the Structure, 1969
Ranald	Margaret Loftus Ranald, review of Noble’s 1994 WT, ShakB 12.3 (1994), 13–14
Rann	The Winter’s Tale in Dramatic Works of William Shakespeare, ed. Joseph Rann, 6 vols., 1786–94 (vol. 2)
Ravelhofer	Barbara Ravelhofer, ‘“Beasts of Recreacion”: Henslowe’s White Bears’, ELR 32 (2002), 287–323
RD	Renaissance Drama
RDTS	Royal Dramatic Theatre of Sweden
Reed	The Winter’s Tale in The Plays of William Shakespeare, ed. Isaac Reed, 21 vols., 1803 (vol. 9)
Reinhardt	Max Reinhardt, Deutsches Theatre, Berlin, 1906
Richards	Jennifer Richards, ‘Social Decorum in The Winter’s Tale’, in Shakespeare’s Late Plays: New Readings, ed. Jennifer Richards and James Knowles, 1999, pp. 75–91
Ringler	William Ringler, Jr., ‘The Number of Actors in Shakespeare’s Early Plays’, in The Seventeenth-Century Stage: A Collection of Critical Essays, ed. G. E. Bentley, 1968, pp. 110–34
Ritson	J. Ritson, Cursory criticisms on the edition of Shakespeare published by Edmond Malone, 1792
Riverside	The Riverside Shakespeare, textual ed. G. Blakemore Evans, 1974
Rolfe	The Winter’s Tale, ed. W. J. Rolfe, English Classics, 1879
Rowan	Tom Rowan, Theater Ten Ten at Theater Ten Ten, New York, 2002
Rowe	The Winter’s Tale in The Works of Mr William Shakespear, ed. Nicholas Rowe, 6 vols., 1709 (vol. 2)
Rowe2	The Winter’s Tale in The Works of Mr William Shakespear, ed. Nicholas Rowe, 2nd edn, 6 vols., c. 1709
Rowe3	The Winter’s Tale in The Works of Mr William Shakespear, ed. Nicholas Rowe, 8 vols., 1714 (vol. 3)
RSC	Royal Shakespeare Company
Sanders	Wilbur Sanders, The Winter’s Tale (Twayne’s New Critical Introductions to Shakespeare), 1987
SB	Studies in Bibliography
Schalkwyk	David Schalkwyk, ‘“A Lady’s ‘Verily’ Is as Potent as a Lord’s”: Women, Word, and Witchcraft in The Winter’s Tale’, ELR 22 (1992), 242–72
Schanzer	The Winter’s Tale, ed. Ernest Schanzer, New Penguin Shakespeare, 1969
Schlegel-Tieck	The Winter’s Tale in Shakespeares Dramatische Werke, ed. August Wilhelm Schlegel and Ludwig Tieck, 9 vols., 1825–1833 (vol. 8)
Schmidt	Alexander Schmidt, Shakespeare Lexicon, 2 vols., 3rd edn, revised and enlarged by Gregor Sarrazin, 1968
SD	stage direction
SH	speech heading
Shaheen	Naseeb Shaheen, Biblical References in Shakespeare’s Plays, 1999
ShakB	Shakespeare Bulletin
Sh. Theatre	Shakespeare Theatre, Washington, DC
Shurgot, ‘Kretzu’	Michael Shurgot, review of Kretzu’s 1999 WT, ShakB 17.3 (1999), 27
Shurgot, ‘Whitney’	Michael Shurgot, review of Whitney’s 2001 WT, ShakB 19.4 (2001), 35–6
SJH	Shakespeare-Jahrbuch (Bochum)
sig., sigs.	signature(s) (printers’ indications of the ordering of pages in early modern books, often more accurate than page numbers)
Siemon	James Edward Siemon, ‘“But It Appears She Lives”: Iteration in The Winter’s Tale’, PMLA 89 (1974), 10–16; rpt. in Bloom, 47–58
Sisson	C. J. Sisson, New Readings in Shakespeare, 1956
Smallwood	Robert Smallwood, ‘Shakespeare at Stratford-upon-
	Avon, 1992’, SQ 44 (1993), 343–62
Smallwood,	Robert Smallwood, ‘Shakespeare Performances in
‘Performances’	England,’ S. Sur. 5 (2000), 244–73
Smallwood, Players	Players of Shakespeare 4: Further Essays in Shakespearian Performance by Players with the Royal Shakespeare Company, ed. Robert Smallwood, 1998
Smith	Bruce Smith, ‘Sermons in Stone: Shakespeare and Renaissance Sculpture’, S.St. 17 (1985), 1–23
P. Smith	Peter Smith, review of Donnellan’s 1999 WT, Cahiers E 56 (Oct. 1999), 102–5
SN	Shakespeare Newsletter
Snyder	Susan Snyder, ‘Mamillius and Gender Polarization in The Winter’s Tale’, SQ 50 (1999), 1–8
Snyder, Journey	Susan Snyder, Shakespeare: A Wayward Journey, 2002 (includes ‘Memorial Art in The Winter’s Tale and Elsewhere: “I will kill thee/And love thee after’” [197–209] and ‘The Winter’s Tale Before and After’ [221–33])
Sokol	B. J. Sokol, Art and Illusion in the Winter’s Tale, 1994
Sokol, Dictionary	B. J. Sokol and Mary Sokol, Shakespeare’s Legal Language: A Dictionary, 2000
Sokolov	Stanislav Sokolov, Animated Shakespeare series, WT broadcast BBC2, 7 December 1994
Sorrell	Walter Sorrell, ‘Shakespeare and the Dance’, SQ 8 (1957), 367–84
Spevack	Marvin Spevack, A Complete and Systematic Concordance to the Works of Shakespeare, 9 vols., 1968–80, vol. 1
SoRA	Southern Review: An Australian Journal of Literary Studies (Adelaide)
SQ	Shakespeare Quarterly
S. St.	Shakespeare Studies
S. Sur.	Shakespeare Survey
Stanley	Audrey Stanley, OSF, Ashland, OR, 1975
Staunton	The Winter’s Tale in The Plays of Shakespeare, ed. Howard Staunton, 3 vols., 1858–60 (vol. 3)
Steevens	The Winter’s Tale in The Plays of William Shakespeare, ed. George Steevens and Isaac Reed, 15 vols., 1793 (vol. 7)
subst.	substantively
Syer	Fontaine Syer, OSF, Ashland, OR, 1996
Theobald	The Winter’s Tale in The Works of Shakespeare, ed. Lewis Theobald, 7 vols., 1733 (vol. 3)
Thirlby	Styan Thirlby, unpublished conjectures recorded as manuscript annotations in his copies of contemporary editions (as cited in Turner)
Tilley	M. P. Tilley, A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Century, 1950
Timpane	John Timpane, review of Wentworth’s 1996 WT, ShakB 15.2 (1997), 18–19
TLN	Through line numbering (in Hinman facsimile)
TLS	Times Literary Supplement
Traub	Valerie Traub, Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama, 1992
Tree	Herbert Beerbohm Tree, His Majesty’s Theatre, London, 1906–7
Trewin	J. C. Trewin, Going to Shakespeare, 1978
Turner	The Winter’s Tale, ed. Robert Kean Turner and Virginia Westling Haas, New Variorum Edition of Shakespeare, 2005
UTQ	University of Toronto Quarterly
v	verb
Vickers	Brian Vickers, The Artistry of Shakespeare’s Prose, 1968
Viswanathan	S. Viswanathan, ‘Theatricality and Mimesis in The Winter’s Tale: The Instance of “Taking by the Hand”’, in Shakespeare in India, ed. S. Nagarajan and S. Viswanathan, 1987, 42–52
Walker	W. S. Walker, Critical Examination of the Text of Shakespeare, 3 vols., 1860
Warburton	The Winter’s Tale in The Works of Shakspear, ed. William Warburton, 8 vols., 1747 (vol. 3)
Warchus	Matthew Warchus, RSC, Stratford-upon-Avon, 2002–3
Ward, ‘Bedford’	Royal Ward, review of Bedford’s 1998 WT, ShakB 17.2 (1999), 38–40
Ward, ‘Davis’	Royal Ward, review of Davis’s 1997 WT, ShakB 15.3 (1997), 27–29
Warren	Roger Warren, Staging Shakespeare’s Late Plays, 1990
Wells	Stanley Wells, ‘Performances in England, 1987–8’, S.Sur. 42 (1990), 129–48
Wentworth	Scott Wentworth, NJSF, Madison, NJ, 1996
Wexler	Joyce Wexler, ‘A Wife Lost and/or Found’, The Upstart Crow 8 (1988), 106–17
White	The Winter’s Tale in The Works of Shakespeare, ed. Richard Grant White, 12 vols., 1857–66 (vol. 5)
White2	The Winter’s Tale in William Shakespeare: Comedies, Histories, Tragedies, and Poems, ed. Richard Grant White, 3 vols., 1883 (vol.2)
Whitney	Scott Whitney, Harlequin Productions, Olympia, WA, 2001
William	David William, Stratford Festival of Canada, Ontario, Canada, 1986
Williams	Gordon Williams, A Dictionary of Sexual Language and Imagery in Shakespearean and Stuart Literature, 3 vols., 1994
H. Williams	Harcourt Williams, Old Vic, London, 1933
D. Wilson	Douglas B. Wilson, ‘Euripides’ Alcestis and the Ending of Shakespeare’s The Winter’s Tale,’ ISJR 58 (1984), 345–55
Wilson	The Winter’s Tale, ed. John Dover Wilson and Arthur Quiller-Couch, New Shakespeare, 1931
Wood	Peter Wood, Shakespeare Memorial Theatre, Stratford-upon-Avon, 1960
Wright	George T. Wright, Shakespeare’s Metrical Art, 1988
WSF	Wisconsin Shakespeare Festival
WVUPP	West Virginia University Philological Papers

Unless otherwise noted, all biblical references are keyed to the Geneva version, 1560, and all references to Ovid’s Metamorphoses are taken from Arthur Golding’s 1567 translation. Where titles and excerpts from early modern works appear (e.g., Pandosto in Bullough), the original spelling (e.g. u/v, i/j) and punctuation, unless otherwise noted, have been preserved.

PREFACE

In preparing this edition, I have incurred extensive debts to former editors of Romeo and Juliet, notably to Brian Gibbons, G. Blakemore Evans, John Jowett, and Jill L. Levenson. My work in progress was much facilitated and accelerated by the time I was allowed to spend at the Folger Shakespeare Library, and I wish to thank the Library for granting me a short-term fellowship and its staff for their assistance. Patrick Cheney, Jeremy Ehrlich, Andrew Gurr, and M. J. Kidnie kindly read the Introduction and helped me with many incisive comments and suggestions. Sarah Stanton offered generous advice and support, while Brian Gibbons’s patience and scholarship saved me from many mistakes. My thinking on specific points of this edition was shaped by conversations with David Carnegie, Jeremy Ehrlich, Steven May, Barbara Mowat, William Sherman, James Siemon, and Valerie Wayne, and I am grateful to all of them. I further wish to thank Emma Depledge, who helped me correct the typescript at a late stage, Giorgio Melchiori, who granted me access to an article of his prior to appearance in print, and Barry Kraft of the Oregon Shakespeare Festival, who sent me material about the Romeo and Juliet production he directed. For various other kindnesses I am grateful to Pascale Aebischer, Y. S. Bains, Helen Hargest, Jill Levenson, and Michael Suarez, SJ. Finally, I wish to thank Katrin, Rebecca, and Raphael, who have made work on this edition much more pleasurable than it might have been.