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Notes

1 I am grateful to Gordon McMullan, Joanne Tompkins, and Maria Delgado for comments on an earlier draft of this essay and to Julia Reidhead at Norton for permission to publish this article as NS3 went into its final phase of production.

I have considered elsewhere how Titus Andronicus’s performance history enfolds and participates in traumatic narratives and histories, particularly in relation to the play’s racial politics, the rape and mutilation of Lavinia, and the ethics of performance, with reference to Gregory Doran’s co-production of the play in Johannesburg (1995) for the National Theatre and Market Theatre, and Julie Taymor’s film Titus (1999). See Catherine Silverstone, Shakespeare, Trauma and Contemporary Performance (New York: Routledge, 2011), pp. 1–2, 4–7, 26–54.

2 Titus Andronicus, Q1 and F, ed. by Catherine Silverstone in The Norton Shakespeare, gen. ed. Stephen Greenblatt with Walter Cohen, Jean Howard, and Katharine Eisaman Maus (volume eds), Suzanne Gossett and Gordon McMullan (gen. textual eds), 3rd edn (New York: W. W. Norton, in press). All textual comments, act, scene, and line references to Titus Andronicus are to this edition.

3 Quartos are small-format relatively cheap books in contrast to the larger, more expensive folios.

4 See, for example, The Works of Mr William Shakespear, ed. by Nicholas Rowe, vol. 4 (1709); The Works of Shakespeare, ed. by Edward Capell, vol. 8 (1767–68); The Works of William Shakespeare, ed. by Alexander Dyce, vol. 5 (1857); Titus Andronicus, ed. by John Dover Wilson (Cambridge: Cambridge University Press, 1948); Titus Andronicus, ed. by J. C. Maxwell, new Arden Shakespeare (London: Methuen, 1953); Titus Andronicus, ed. by Eugene M. Waith (Oxford: Oxford University Press, 1984); William Shakespeare: The Complete Works, gen. eds Stanley Wells and Gary Taylor (Oxford: Oxford University Press, 1986); Titus Andronicus, ed. by Jonathan Bate, The Arden Shakespeare, 3rd series (London: Routledge, 1995); The Norton Shakespeare, based on the Oxford Edition, gen. ed. Stephen Greenblatt (New York: W. W. Norton, 1997); Titus Andronicus, ed. by Sonia Massai (London: Penguin, 2001); Titus Andronicus, ed. by Alan Hughes, rev. edn (Cambridge: Cambridge University Press, 2006); The Complete Works of Shakespeare, ed. by David Bevington, 6th edn (New York: Pearson-Longman, 2009); Titus Andronicus and Timon of Athens: Two Classical Plays, ed. by Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2011).

5 Stephen Greenblatt and others, ‘Preface’, in Greenblatt (gen. ed.), The Norton Shakespeare, pp. xi–xiv (p. xi).

6 Stephen Greenblatt, ‘General Introduction’, in Greenblatt (gen. ed.), The Norton Shakespeare, pp. 1–76 (p. 71).

7 See, for example, Roland Barthes, ‘The Death of the Author’, 1968, in Image, Music, Text, trans. by Stephen Heath (London: Flamingo-Fontana, 1977), pp. 142–48; Jacques Derrida, Of Grammatology, 1967, trans. by Gayatri Chakravorty Spivak (Baltimore: Johns Hopkins University Press, 1976); Michel Foucault, ‘What Is an Author?’, 1969, trans. by Donald F. Bouchard and Sherry Simon, in Language, Counter-Memory, Practice: Selected Essays and Interviews by Michel Foucault, ed. by Donald F. Bouchard (Ithaca, NY: Cornell University Press, 1977), pp. 113–38.

8 Greenblatt, ‘General Introduction’, p. 71.

9 For a summary of these decisions, see Greenblatt and others, ‘Preface’, pp. xii–xiii.

10 Hamlet, ed. by Ann Thompson and Neil Taylor, The Arden Shakespeare, 3rd series (London: Thomson Learning, 2006) and Hamlet: The Texts of 1603 and 1623, ed. by Ann Thompson and Neil Taylor, The Arden Shakespeare, 3rd series (London: Thomson Learning, 2007).