Titlebook: Intertextuality and Romance in Renaissance Drama; The Staging of Nosta Richard Hillman Book 1992 Richard Hillman 1992 drama.essay.Renaissan

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,‘Not Amurath an Amurath Succeeds’: Striking Crowns into the Hazard and Playing Doubles in Shakespeae been aware’.. It was that son, Bayezid I, who set the pattern for later Turkish monarchs by murdering a brother on his accession. He has also, incidentally, earned literary distinction, under the name of Bajazeth, as the human footstool of Marlowe’s Tamburlaine (thus becoming Elizabethan drama’s outstanding representation of an Ottoman).

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Re-inscribing Romance in , insistent referentiality and the disjunctions this produces — to the point where Elizabeth Freund considers . . as ‘a(chǎn) sustained meditation on the parasitism of texts’ (34). I wish to adapt and refocus this critical trend, with particular attention to the primary — eminently reversible — intertextua

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Attribution and Tribute in , the metadramatic investment of the Chorus — the play’s most stable presence, after all, and inevitably the audience’s confidant — with precisely that responsibility, and so with authority over the narrative and its meanings.