Project MUSE®: Shakespeare Quarterly - Latest Articles
https://muse.jhu.edu/journal/182
Project MUSE®: Latest articles in Shakespeare Quarterly.daily12026-05-13T00:00:00-05:00text/htmlen-USVol. 52 (2001) through current issueLatest Articles: Shakespeare QuarterlyTWOProject MUSE®Shakespeare Quarterly1538-35550037-3222Latest articles in Shakespeare Quarterly. Feed provided by Project MUSE®Macbeth Under the Volcano: Scotland's Year Without a Summer, the "Smoke of Hell," and the Geological Unconscious
https://muse.jhu.edu/article/988960
<p></p>
No reader of Macbeth would dispute the claim that darkness saturates the play. Attempts to account for its somber palette and tenebristic imagery usually lean in one of two directions: critics suggest either that the Folio text represents a "baroque" stage version retrofitted for the candlelit Blackfriars playhouse, or that anti-Scottish sentiment drove Shakespeare to exaggerate the latitudinal and meteorological differences between England and its northern neighbor by depicting Scotland as a literally benighted realm of darkness.2 To make the darkness visible in outdoor performances by daylight, the King's Men may even have befogged the Globe stage with smoke-spewing pyrotechnics, which Jonathan Gil Harris has
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallMacbeth Under the Volcano: Scotland's Year Without a Summer, the "Smoke of Hell," and the Geological Unconscious2026-04-30text/htmlen-USMacbeth Under the Volcano: Scotland's Year Without a Summer, the "Smoke of Hell," and the Geological Unconscious2026-04-302026TWOProject MUSE®1601712026-05-13T00:00:00-05:002026-04-30Re-imagining Shakespeare in Contemporary Japan: A Selection of Japanese Theatrical Adaptations of Shakespeare by Arden Shakespeare (review)
https://muse.jhu.edu/article/988961
<p></p>
In this edited volume, Motoyama, Fielding, and Konno reposition Shakespeare through three inventive theatrical adaptations that both honor tradition and address contemporary concerns, including social isolation, deflation, filial piety, public safety, terrorism, and natural disasters. While these themes are concerns in modern Japanese culture, they are frequently overlooked in Western media in favor of highlighting the otherness of Japanese materialist culture. Through the presentation of three appropriations—The Three Daughters of Lear, Hamlet X Shibuya ~ Light, Was Our Revenge Tarnished?, and The New Romeo and Juliet—this volume helps bridge the gap between Japanese and Anglophone audiences in addressing such
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallRe-imagining Shakespeare in Contemporary Japan: A Selection of Japanese Theatrical Adaptations of Shakespeare by Arden Shakespeare (review)2026-04-30text/htmlen-USRe-imagining Shakespeare in Contemporary Japan: A Selection of Japanese Theatrical Adaptations of Shakespeare by Arden Shakespeare (review)2026-04-302026TWOProject MUSE®89192026-05-13T00:00:00-05:002026-04-30Communal Justice in Shakespeare's England: Drama, Law, and Emotion by Penelope Geng (review)
https://muse.jhu.edu/article/988962
<p></p>
Late in King Lear, Edgar instructs his father, "Give me your hand: you are now within a foot / Of the extreme verge" (4.6.30–31). While most editions gloss "verge" as merely "an edge," the term is—as George Oppitz-Trotman expounds at length in The Origins of English Revenge Tragedy—also a legal one that refers to "the twelve miles surrounding the king's person" (115). Penelope Geng's excellent Communal Justice in Shakespeare's England encourages readers to consider this valence and to view the scene as one of legal judgment laden with affective freight. Dover was the port from which felons who had been granted mercy from the authorities went into exile and, as Geng notes, if there was no boat waiting for them, they
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallCommunal Justice in Shakespeare's England: Drama, Law, and Emotion by Penelope Geng (review)2026-04-30text/htmlen-USCommunal Justice in Shakespeare's England: Drama, Law, and Emotion by Penelope Geng (review)2026-04-302026TWOProject MUSE®89842026-05-13T00:00:00-05:002026-04-30Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman (review)
https://muse.jhu.edu/article/988963
<p></p>
Shakespeare's Contested Nations offers a compelling examination of the various ways that Shakespeare's histories are presented in England during the early twenty-first century. It considers how the plays are staged to speak to a nation, and, by extension, invites questions as to whom that nation belongs. These concerns, Pittman contends, offer a necessary framework for understanding how Shakespearean performances and adaptations carry ideological weight. Productions from major companies, disseminated on DVD and in digital spaces, are the book's central focus because of their capacity to act as "vital components of Brand Britain" (9) as they reach across the world. Pittman explains that her study is part of a body
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman (review)2026-04-30text/htmlen-USShakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman (review)2026-04-302026TWOProject MUSE®102092026-05-13T00:00:00-05:002026-04-30Shakespeare's Common Language by Alysia Kolentsis (review)
https://muse.jhu.edu/article/988964
<p></p>
The core of Alysia Kolentsis's Shakespeare's Common Language is a sustained demonstration of the benefits of drawing on linguistics for analyzing the social content of early modern plays. Through detailed analyses, Kolentsis shows the usefulness of modern linguistic theory for building interpretations that are sensitive to the social negotiations involved in the moment-to-moment exchanges of stage dialogue. "Dialogue," she writes, "is where power is negotiated, where identity is established, where relationships are tested and maintained" (32). The book is especially powerful in its aim to show how seemingly simple linguistic choices can register differences of social power, track wishes and intentions, unfold
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespeare's Common Language by Alysia Kolentsis (review)2026-04-30text/htmlen-USShakespeare's Common Language by Alysia Kolentsis (review)2026-04-302026TWOProject MUSE®99682026-05-13T00:00:00-05:002026-04-30Shakespeare and the Comedy of Enchantment by Kent Cartwright (review)
https://muse.jhu.edu/article/988965
<p></p>
In Shakespeare and the Comedy of Enchantment, Kent Cartwright argues that comedies are situated between the mystery and magic of medieval and preChristian contexts and the rationality and explicability of "scientific modernity" (3). However, he is careful to note that despite a comic progression from confusion to neat conclusion that aligns early modern comedy with "developments in the protocols for fact-finding and the juridical understanding of events," "elements of mystery" nevertheless accrue (4). This accumulation of mystery and its "residue" in Shakespeare's comedy (4), he claims, creates a surplus that exceeds rational explanation. In six chapters, Cartwright deftly re-examines familiar topics including
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespeare and the Comedy of Enchantment by Kent Cartwright (review)2026-04-30text/htmlen-USShakespeare and the Comedy of Enchantment by Kent Cartwright (review)2026-04-302026TWOProject MUSE®80872026-05-13T00:00:00-05:002026-04-30From Playtext to Performance on the Early Modern Stage: How Did They Do It? by Leslie Thomson (review)
https://muse.jhu.edu/article/988966
<p></p>
"How did they do it?" How, that is, did early modern acting companies manage to perform so many plays in the same season, often giving each one only once or at most twice in the week? As the compiler of the database that was the starting point for the magnificent Dictionary of Stage Directions (1999) that she co-authored with Alan C. Dessen, Leslie Thomson is ideally qualified to explore this question. The database contained "over 22,000 stage directions culled from roughly 500 plays" (Dictionary, xi), and one of the strengths of this book is the range of evidence that it examines.Focusing on professional playwrights working in public playhouses, Thomson begins by analyzing the admittedly meager surviving
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallFrom Playtext to Performance on the Early Modern Stage: How Did They Do It? by Leslie Thomson (review)2026-04-30text/htmlen-USFrom Playtext to Performance on the Early Modern Stage: How Did They Do It? by Leslie Thomson (review)2026-04-302026TWOProject MUSE®153282026-05-13T00:00:00-05:002026-04-30Black Shakespeare: Reading and Misreading Race by Ian Smith (review)
https://muse.jhu.edu/article/988967
<p></p>
Ian Smith's magisterial Black Shakespeare: Reading and Misreading Race, is pedagogical in the truest and best sense: this book generously educates its readers on the histories of race, literacy, and citizenship in England and the US. The result is nothing less than a redefinition of literary studies and the place of Shakespeare in that larger institutional and intellectual endeavor.Smith situates current literary debates in the historical context of eighteenth-century literacy laws that conferred on white people the authority to determine who could become literate and excluded a priori the possibility that Shakespeare's readers were anything but white. Yet this definition of literacy as white property also created
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallBlack Shakespeare: Reading and Misreading Race by Ian Smith (review)2026-04-30text/htmlen-USBlack Shakespeare: Reading and Misreading Race by Ian Smith (review)2026-04-302026TWOProject MUSE®103222026-05-13T00:00:00-05:002026-04-30Shakespeare's Queer Analytics: Distant Reading and Collaborative Intimacy in "Love's Martyr" by Don Rodrigues (review)
https://muse.jhu.edu/article/988968
<p></p>
This book explores three well-tilled fields: authorship, queerness, and digital methodology. Rodrigues's main subject is Shakespeare's contribution to Love's Martyr (1601), a volume consisting of Robert Chester's narrative poem and a supplement of fourteen poems called the "Poetical Essays" by Shakespeare, Jonson, Marston, Chapman, and others. Rodrigues joins a line of scholars from Alexander B. Grossart (1878) to G. Wilson Knight (1955) who have speculated about Shakespeare's involvement in the unattributed sections of the anthology, but he offers what prior critics did not: a method he calls "queer analytics." This method combines stylometric analysis, which uses computers to identify authorship through stylistic
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespeare's Queer Analytics: Distant Reading and Collaborative Intimacy in "Love's Martyr" by Don Rodrigues (review)2026-04-30text/htmlen-USShakespeare's Queer Analytics: Distant Reading and Collaborative Intimacy in "Love's Martyr" by Don Rodrigues (review)2026-04-302026TWOProject MUSE®75242026-05-13T00:00:00-05:002026-04-30Early Modern Herbals and the Book Trade: English Stationers and the Commodification of Botany by Sarah Neville (review)
https://muse.jhu.edu/article/988969
<p></p>
Fifty years ago, our professor asked the class why there were so many references to flowers, plants, trees, and fruits in the Shakespeare canon. We had no idea and therefore offered no response. Bemused, our interlocutor answered his own question: "Because William Shakespeare was a country boy! Always remember that about him." Obviously, he had read the Reverend Henry N. Ellacombe's The Plant Lore and Garden Craft of Shakespeare (1878), which revealed that there were over two hundred allusions to flora of diverse sorts in the canon. In the next century, Esther Singleton (1922), Phyllis Cook (1940), and Jessica Kerr (1969), among others, demonstrated that there was considerably more to say on the topic. Today, there
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallEarly Modern Herbals and the Book Trade: English Stationers and the Commodification of Botany by Sarah Neville (review)2026-04-30text/htmlen-USEarly Modern Herbals and the Book Trade: English Stationers and the Commodification of Botany by Sarah Neville (review)2026-04-302026TWOProject MUSE®89092026-05-13T00:00:00-05:002026-04-30Speed and Flight in Shakespeare by Matthew Steggle (review)
https://muse.jhu.edu/article/988970
<p></p>
Matthew Steggle investigates a phenomenon that most readers notice intuitively but few critics have studied systematically: Shakespeare's obsession with speed and flight. Steggle challenges the modernist assumption, popularized by Futurists and theorists like Paul Virilio, that fascination with speed belongs exclusively to modernity. Showing that the early modern stage had already experimented with rapid motion, Steggle argues that Shakespeare developed "an aesthetic of speed and flight" (2), positioning him as an inheritor of Marlowe's rapid dramaturgy. This aesthetic functions not merely as a theme or a metaphor but as a dramaturgical practice, transforming the early modern stage into what Steggle, borrowing from
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallSpeed and Flight in Shakespeare by Matthew Steggle (review)2026-04-30text/htmlen-USSpeed and Flight in Shakespeare by Matthew Steggle (review)2026-04-302026TWOProject MUSE®86092026-05-13T00:00:00-05:002026-04-30Still Shakespeare and the Photography of Performance by Sally Barnden (review)
https://muse.jhu.edu/article/988971
<p></p>
Sally Barnden's account of the analogue photographs of Shakespearean performances dating from 1850 to the 1980s analyzes how the art has preserved historic performances and enabled the circulation of Shakespearean characters and images beyond their contextual boundaries. Beginning with a quotation from Prospero's speech in The Tempest on the "disappearance of the masque" (2), Barnden reflects on the dichotomy between the permanence and stability of photography and the ephemerality of stage performance.Barnden dedicates her project, with its penetrating review of literature, insightful notes, and references, to studying a group of images—including photocalls, paintings, and a mixed-media collage—to explain how
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallStill Shakespeare and the Photography of Performance by Sally Barnden (review)2026-04-30text/htmlen-USStill Shakespeare and the Photography of Performance by Sally Barnden (review)2026-04-302026TWOProject MUSE®83332026-05-13T00:00:00-05:002026-04-30Shakespeare: The Critical Tradition: King Henry V ed. by Joseph Candido (review)
https://muse.jhu.edu/article/988972
<p></p>
For better or worse, Henry V has the habit of claiming popular and critical attention in times of war. Emerging between the end of the long war in Afghanistan and the resumption of the war in Ukraine, Joseph Candido's fine collection of nineteenth and twentieth-century criticism of Henry V occasions the kind of reflection our historical moment demands.The volume is part of the revival of Shakespeare: The Critical Tradition (1996–2005), a series of anthologies of criticism originally developed as a continuation of Brian Vickers's six-volume Shakespeare: The Critical Heritage, 1623–1801 (1974–1981). Anthologies covering Twelfth Night, King Lear, Hamlet (2 volumes), and The Tempest are presently available, with Antony
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespeare: The Critical Tradition: King Henry V ed. by Joseph Candido (review)2026-04-30text/htmlen-USShakespeare: The Critical Tradition: King Henry V ed. by Joseph Candido (review)2026-04-302026TWOProject MUSE®85462026-05-13T00:00:00-05:002026-04-30Shakespearean Rhetoric: A Practical Guide for Actors, Directors, Students and Teachers by Arden Shakespeare (review)
https://muse.jhu.edu/article/988973
<p></p>
There is a long-standing critical tradition of studying the influence of classical texts on early modern English drama, but little of this scholarship devotes itself to the importance of the art of persuasion in shaping the very language of these plays. The study of rhetoric was indeed part of the education of children at the time and Brandreth draws on both ancient authors, such as Quintilian, Aristotle, and Cicero, and early modern writers including Thomas Wilson, the author of the first Elizabethan textbook devoted to the subject. The main contention of this book is that the knowledge of classical rhetoric might be used as a tool for close-reading analysis, the starting point of performance, and even a prism
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespearean Rhetoric: A Practical Guide for Actors, Directors, Students and Teachers by Arden Shakespeare (review)2026-04-30text/htmlen-USShakespearean Rhetoric: A Practical Guide for Actors, Directors, Students and Teachers by Arden Shakespeare (review)2026-04-302026TWOProject MUSE®98922026-05-13T00:00:00-05:002026-04-30Shakespearean Issues: Agency, Skepticism, and Other Puzzles by Richard Strier (review)
https://muse.jhu.edu/article/988974
<p></p>
Honestly, there were moments when I felt embarrassment for my profession of literary criticism while reading Richard Strier's book. Without a trace of odium academicum, Strier holds up to view so much ingenious folly in the work of leading figures of our discipline that one feels driven to question the scientific value of the whole enterprise. Much of this folly comes from a disdain for the obvious. In The Vanity of Human Wishes Samuel Johnson identified "tempting Novelty" as one of the baits that imperil the sober life of the scholar. Presumably Johnson had in mind novelties more alluring than that of "offering a new reading" (as we say) of an old book. But Strier highlights an academic system that prizes
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespearean Issues: Agency, Skepticism, and Other Puzzles by Richard Strier (review)2026-04-30text/htmlen-USShakespearean Issues: Agency, Skepticism, and Other Puzzles by Richard Strier (review)2026-04-302026TWOProject MUSE®144442026-05-13T00:00:00-05:002026-04-30Shakespeare and the Supernatural ed. by Victoria Bladen and Yan Brailowsky (review)
https://muse.jhu.edu/article/988975
<p></p>
This collection of essays provides an excellent introduction to the wide variety of supernatural threads that are woven throughout the works of Shakespeare. The authors consider how the supernatural was perceived by the early moderns and how, through ever-evolving technological innovation, it continues to be experienced by audiences today. The book is divided into five sections, each exploring a different way in which the supernatural is manifested in the plays and portrayed on the stage.Section 1, "Embodying the Supernatural," is focused on manifestations of the supernatural in human bodies. "Shakespeare's Political Spectres" by Victoria Bladen attests to the popularity of ghosts on the early modern stage (31).
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespeare and the Supernatural ed. by Victoria Bladen and Yan Brailowsky (review)2026-04-30text/htmlen-USShakespeare and the Supernatural ed. by Victoria Bladen and Yan Brailowsky (review)2026-04-302026TWOProject MUSE®96792026-05-13T00:00:00-05:002026-04-30Authorial Personality and the Making of Renaissance Texts: The Force of Character by Douglas S. Pfeiffer, and: The Invention of Shakespeare and Other Essays by Stephen Orgel (review)
https://muse.jhu.edu/article/988976
<p></p>
These two books explore authorial character, either as the object of writing or as its agent. Pfeiffer examines the author as the subject of the text, demonstrating how writers like Lorenzo Valla, Erasmus, George Gascoigne, Fulke Greville, and Shakespeare used verbal style and rhetorical conventions to shape authorial personae in their works, tracing the evolution of the idea that "the text is the best instrument for deducing the nature of its writer's person" (21). The critic has developed an interpretive technique that investigates "various levels on which style registers the author's character" (193) and the relationships between them. In this way, rhetorical style can serve as a foundation on which readers can
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallAuthorial Personality and the Making of Renaissance Texts: The Force of Character by Douglas S. Pfeiffer, and: The Invention of Shakespeare and Other Essays by Stephen Orgel (review)2026-04-30text/htmlen-USAuthorial Personality and the Making of Renaissance Texts: The Force of Character by Douglas S. Pfeiffer, and: The Invention of Shakespeare and Other Essays by Stephen Orgel (review)2026-04-302026TWOProject MUSE®187632026-05-13T00:00:00-05:002026-04-30Shakespeare's Political Imagination: The Historicism of Setting by Philip Goldfarb Styrt (review)
https://muse.jhu.edu/article/988977
<p></p>
When I teach the strangest moments in Shakespeare's texts—Brutus lying about his knowledge of Portia's death to hear the news again, or Hamlet taunting Polonius with a camel-shaped cloud—I often tell students to collapse the centuries between themselves and the characters in order to imagine that the psychology behind these actions is modern. Directors, too, have been relocating Shakespeare's Romans, Danes, and Venetians since at least the nineteenth century; notorious examples include Oscar Eustis's provocative Julius Caesar (New York, 2017) and Robert Falls's disco-era Measure for Measure (Chicago, 2013), the latter of which is discussed in the conclusion to Philip Goldfarb Styrt's Shakespeare's Political
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallShakespeare's Political Imagination: The Historicism of Setting by Philip Goldfarb Styrt (review)2026-04-30text/htmlen-USShakespeare's Political Imagination: The Historicism of Setting by Philip Goldfarb Styrt (review)2026-04-302026TWOProject MUSE®102492026-05-13T00:00:00-05:002026-04-30From the Editor
https://muse.jhu.edu/article/988978
<p></p>
The Spring 2026 issue marks the beginning of my final volume as Editor of Shakespeare Quarterly. I have many people to thank for making this job so rewarding.To begin at the beginning, I am grateful to former Folger Shakespeare Library Director Michael Witmore, who appointed me to the position in early 2017; former Editor Gail Kern Paster, who brought me on board in that year and who has been an inspirational mentor since my term officially began in 2018; Theodore Leinwand, who, with Gail, has been a Consulting Editor for the length of my term, and who has probably taught me more than any other colleague about what it means to read something, be it play-text or essay draft, closely; and Jessica Frazier and Eric
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmallFrom the Editor2026-04-30text/htmlen-USFrom the Editor2026-04-302026TWOProject MUSE®67212026-05-13T00:00:00-05:002026-04-30"I am Entreating of Myself": Intercession as Restoration in The Two Noble Kinsmen
https://muse.jhu.edu/article/988979
<p></p>
Scenes of summary judgment, appeal, and supplication abound in the plays of Shakespeare: among these we may consider Tamora before Titus Andronicus, Bolingbroke before Richard II, Brabantio before the Duke of Venice, and the senators of Athens before Timon. In her persuasive account of early modern supplicatory discourse, Leah Whittington discerns an increasing interest over the course of Shakespeare's career in moments of supplication that harm both petitioners and those they petition—especially the latter, for whom concession becomes "tantamount to self-annihilation." The culmination of this trajectory is Volumnia's famous audience with her son in Coriolanus, where acceptance of her petition results in his
... <a href="https://muse.jhu.edu/article/988979">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/182/image/coversmall"I am Entreating of Myself": Intercession as Restoration in The Two Noble Kinsmen2026-04-30text/htmlen-US"I am Entreating of Myself": Intercession as Restoration in The Two Noble Kinsmen2026-04-302026TWOProject MUSE®1240872026-05-13T00:00:00-05:002026-04-30