White People in Shakespeare by Arthur L. Little Jr

Author:Arthur L. Little, Jr.
Language: eng
Format: epub
ISBN: 9781350283657
Publisher: Bloomsbury Publishing
Published: 2022-10-14T00:00:00+00:00

NOTES

1.I take all Shakespeare quotations from The Arden Shakespeare Complete Works, ed. Richard Proudfoot, Ann Thompson and David Scott Kastan (London: The Arden Shakespeare, 2001), here 1.1.5, and will provide subsequent quotations parenthetically in my text.

2.George Best, A True Discourse of the Late Voyages of Discoverie, for the Finding of a Passage to Cathaya, for the Northweast, Under the Conduct of Martin Frobisher (London, 1584), 29.

3.Ibid., 30.

4.Stating that she was ‘really sick of alt-right groups appropriating classical antiquities for nefarious reasons’, classicist Sarah Bond wrote a 2017 blog post discussing how much ancient sculpture was originally painted and how the physical whiteness of classical statuary from which in many cases the coloured paint has faded away over time became associated with modern efforts to establish white male bodies as cultural and racial ideals. Bond was inundated with online threats, as described in ‘For One Scholar, an Online Stoning Tests the Limits of Public Scholarship’, Chronicle of Higher Education, 16 June 2017. See also ‘White Supremacist Propaganda Surges on Campus’, https://www.adl.org/resources/reports/white-supremacist-propaganda-surges-on-campus.

5.See ‘ “It’s All White People”: Allegations of White Supremacy are Tearing Apart a Prestigious Medieval Studies Group’, Washington Post, 19 September 2019. The article discusses racial tensions in the International Association of Anglo-Saxonists, which came to a head at their 2019 biennial meeting, at which a vote was taken that will change the organization’s name in recognition of the extent to which ‘Anglo-Saxon’ has become a ‘code for whiteness, a phrase that is co-opted today by white supremacists around the world to advance a false version of white-dominated history’.

6.Eclogues, Georgics, Aeneid 1-6, trans. H. Rushton Fairclough, rev. edn G. P. Goold (Cambridge, MA: Harvard University Press, 1999), 369. I’ll provide subsequent citations parenthetically in my text.

7.Here, we can see Shakespeare mixing different kinds of historical materials together as well as following tradition in questioning the absoluteness of Caesar’s success in Britain. See Homer Nearing, Jr., ‘The Legend of Julius Caesar’s British Conquest’, PMLA 64.4 (1949): 889–929.

8.Geoffrey was first translated into English by Aaron Thompson in 1718 and revised by J. A. Giles in 1848. I cite the online edition of Thompson published in the Medieval Latin Series (Cambridge, Ontario: In Parentheses Publications, 1999), 20.

9.Paul Raffield, ‘Common Law, Cymbeline, and the Jacobean Aeneid’, Law and Literature, 27.3 (2015): 313–42, discusses links between the play’s use of legends of national origin and foundation and James’s desire to reform ancient notions of the relationship between the nation and the monarch. Also see Emrys Jones, ‘Stuart Cymbeline’, Essays in Criticism 11 (1961): 84–99.

10.Both Martin Butler’s New Cambridge Shakespeare edition of the play (Cambridge: Cambridge University Press, 2005), 3–6, and Roger Warren’s Oxford Shakespeare edition in Oxford World Classics (Oxford: Oxford University Press, 1998), 63–7, date the play in 1610, placing its concerns with Britishness in line with the mood of such court performances as Jonson’s and Daniel’s masques.

11.P. G. Walsh and M. J. Kennedy, ed. and trans., The History of English Affairs (Warminster, PA: Aris and Phillips Classical Texts, 2008), 29.

12.F. Smith Fussner, The

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