Alexander the Great From Britain to Southeast Asia by Su Fang Ng;

Author:Su Fang Ng; [Ng, Su Fang]
Language: eng
Format: epub
ISBN: 9780192560148
Publisher: OUP Premium
Published: 2019-02-25T00:00:00+00:00

1 Sofer 2003: 90; T. Spencer 1960: 185.

2 H. Morris 1970; Frye 1979; Garber 1981; Gellert 1970; and Walsh 1987.

3 Frye 1979: 18.

4 All quotations from Shakespeare’s plays are from Stephen Greenblatt’s edition of The Norton Shakespeare (Shakespeare 1997) and cited parenthetically; Secretum secretorum quoted from Manzalaoui 1977.

5 Gutas 1981: 61.

6 Grignaschi 1975.

7 For the revival of Keeling’s diary, see G. Taylor 2001; for the case against their authenticity, see Kliman 2011; on the debate over documentary authenticity, see Holderness 2014: 25–36.

8 Cooper 2004; Perry and Watkins 2009; Morse et al. 2013.

9 Amer 2015: 371–2.

10 Tigay 1993.

11 H. Jones 1905 and 1908; Braddy 1936; see also Metlitzki 1977; and Heffernan 2003.

12 Metlitzki 1977: 140.

13 On Boccaccio and Shakespeare, see Doniger 2017: 155–69, 339 nn. 51–3; on the Malay text, see Winstedt 1921.

14 Bate 1997: 261.

15 Fineman 1991; Bloom 1998.

16 Grazia 2007: 9.

17 Two early commentators mock the play for its Senecan borrowings: in the introduction to Robert Greene’s Menaphon (1589), Thomas Nashe says, “English Seneca read by candle-light yields many good sentences, as Blood is a beggar, and so forth; and if you entreat him fair in a frosty morning, he will afford you whole Hamlets, I should say handfuls of tragical speeches”; and in 1596, Thomas Lodge remarks on “the ghost which cried so miserably at the theatre, like an oyster-wife, Hamlet, revenge” (quoted in Harold Jenkins’s edition of Hamlet [Shakespeare 1982: 83]).

18 Grazia 2007: 7–8.

19 Gill 1984; Coldiron 2015: 89–91.

20 Bühler 1948: 29.

21 Sutton 2006: 9.

22 Coldiron 2015: 79–80; for Caxton’s acculturation of the work, 65–89.

23 E. Curtius 1990: 336; Grabes 1982; Berges 1938. Numerous articles have been written on the image in Shakespeare alone (Hunt 2011: 1–2, on Hamlet and Henry V as engagements with the genre, 49–97).

24 Cary 1967: 115.

25 W. Baldwin 1578: sig. D2v.

26 Budra 2000; Lucas 2009; Archer and Hadfield 2016.

27 Lucas 2016: 30.

28 Lucas 2016: 30; on Shakespeare’s uses of Baldwin see Es 2016 and Schwyzer 2016.

29 Quoted in Otten 1994: 39, her translation.

30 Eamon 1994.

31 Guevara 1936: 109.

32 McCarthy 2009: 59.

33 Jauss 1982: 20–1; for an earlier statement, see Jauss 1970.

34 Jauss 1982: 23.

35 Neill 1997: 234.

36 Sutton 2006: 87.

37 Sutton 2006: 87.

38 Ghazālī 1968: 45–6, my translation.

39 Ghazālī 2006: 59–60, my translation. Noting that the word is unclear, the editor Jelani Harun transcribes it in the notes as [t-a-q-h] (225 n. 57). With h indicating a tā marbūṭah in the final position, it is an Arabic word, , meaning “window,” which I translate as “opening” to fit the context.

40 Ghazālī 1964: 6.

41 Ghazālī 1964: 31, 38; Ghazālī 1968: 41; translations from Bagley’s edition.

42 Ghazālī 1968: 35 (Arabic text); Ghazālī 1964: 31–2; I supply the address to the sultan not included in Bagley’s translation.

43 Yamanaka 2006: 114 n. 15; Bagley suggests Wahb ibn Munabbih as a source: Ghazālī 1964: lvii.

44 Ghazālī 1964: 43; Ghazālī 1968: 45.

45 Ghazālī 1968: 43 (Arabic); Ghazālī 1964: 41.

46 Ghazālī 1964: 39–40; he asks, but the Angel responds, meaning that he had used up the period of his life (Ghazālī 1968: 42).

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