Abstract
According to Stephen Dedalus, exile defines the Shakespearean canon:
The note of banishment, banishment from the heart, banishment from home, sounds uninterruptedly from The Two Gentlemen of Verona onward till Prospero breaks his staff, buries it certain fathoms in the earth and drowns his book.1
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Notes
E. A. J. Honigmann, Shakespeare: The ‘Lost Years’ (Manchester: Manchester University Press, 1985; rev. 1998 ), 130.
Eric Sams, The Real Shakespeare, Retrieving the Early Years 1564–1594 (New Haven, CT and London: Yale University Press, 1995 ), 45.
Vincent J. Cheng, Joyce, Race and Empire ( Cambridge: Cambridge University Press, 1995 ), 7.
See G. R. Elton, The Tudor Constitution ( Cambridge: Cambridge University Press, 1960 ), 150–2.
See Mario Digangi, The Homoerotics of Early Modern Drama ( Cambridge: Cambridge University Press, 1997 ), 100–3.
See Philip J. Finkelpearl, John Marston of the Middle Temple ( Cambridge, MA: Harvard University Press, 1969 ), 119–24.
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© 2003 Jane Kingsley-Smith
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Kingsley-Smith, J. (2003). Introduction. In: Shakespeare’s Drama of Exile. Palgrave Shakespeare Studies. Palgrave Macmillan, London. https://doi.org/10.1057/9781403938435_1
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DOI: https://doi.org/10.1057/9781403938435_1
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