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Notes
1. Cf. also Calvo and Tronch, “The Authorship of the Additions,” 327–328, and CitationFreeman, Thomas Kyd, 118–119, 129–130.
2. Cf. also CitationVickers, “A Method Vindicated,” 101–102. CitationEgan offers a critical perspective on Vickers’ approach (60–66).
3. The terminus ad quem for the Additions comes from the Q4 title page; the terminus a quo for Macbeth comes from Taylor and Loughnane 564–5. Nance paraphrases Janet Clare’s call “to remain broad-minded about the relationship between” verbally-resonant dramatic texts (262).
4. Etymologically, the English words in the play-within-the-play are either Old English in origin (such as “queen”) or thoroughly anglicized borrowings from continental languages (such as “joy”), so it is unlikely that the conjectural translator used a non-English word without translating it.
5. Cf. also CitationMulryne, who calls Cornelia “a free” translation and describes The Householder’s Philosophy as “vigorous prose”; cf.; CitationErne for a sympathetic evaluation of Kyd’s translational work (203–220).
6. CitationJonathan Lamb has recently argued that in Troilus and Cressida, Shakespeare uses an idiosyncratic linguistic agenda to “characterize” the play as a whole (177–179).
7. This transcript is our own.
8. A search of the Database of Early English Playbooks (DEEP) reveals similar trends in the much smaller corpus of playbooks, but faithfully verbose reproductions of the title-page to The Spanish Tragedy (reprinted ten times between 1592 and 1642) skew these results too much for comfort.