1. S. L. Goldberg, "Shakespeare's Centrality," Critical Review 18 (1976): 3-22.
2. The quotations from Antony and Cleopatra come from the Arden edition, ed. M. R. Ridley (London: Methuen, 1977). All other Shakespearean quotations are found in The Complete Works, ed. Peter Alexander (London: Collins, 1966).
3. C. S. Lewis, English Literature in the Sixteenth Century (London: Oxford University Press, 1973), p. 505.
4. See, for example, D. de Rougement, Passion and Society, trans. M. Belgion (London: Faber & Faber, 1940).
5. F. Bacon, Novum Organum, Aphorism xli, in E. A. Burke, ed., The English Philosophers from Bacon to Mill (New York: Random House, 1939), p. 34.
6. T. Nagel, "Subjective and Objective," in his Mortal Questions (Cambridge: Cambridge University Press, 1979), p. 212.
7. A. Sewell, Character and Society in Shakespeare (Oxford: Clarendon Press, 1961).
8. Several critics have recognized this; quite recently H. Jacobson, in Shakespeare's Magnanimity (London: Chatto & Windus, 1978), p. 104.
9. Two examples only: H. A. Mason, Shakespeare's Tragedies of Love (London: Chatto & Windus, 1970), p. 232, and L. C. Knights, Some Shakespearean Themes (London: Chatto & Windus, 1959), p. 147.
10. The phrase is that of J. Adelman in The Common Liar (New Haven: Yale University Press, 1973), p. 102.
11. As many do. See, for example, R. Ornstein, "The Ethic of the Imagination: Love and Art in Antony and Cleopatra," in J. Russell Brown, ed., Stratford-Upon-Avon Studies 8 (London: Edward Arnold, 1966), p. 32.
12. See, for another example, Wordsworth's The Prelude (1805), XII, ll. 69ff.