Chapters in this book

1. Frontmatter i
2. Contents v
3. Permissions vii
4. Acknowledgments viii
5. Notes on Contributors x
6. Introduction: Representing “Ovids” on the Early Modern English Stage 1
7. Part I. Gender/Queer/Trans Studies and Ovidian Rhizomes
8. 1 Queer Gender Informants in Ovid and Shakespeare 19
9. 2 Women in Trees: Adapting Ovid for John Lyly’s Love’s Metamorphosis (1589) 39
10. 3 Queer Fidelity: Marlowe’s Ovid and the Staging of Desire in Dido, Queen of Carthage 57
11. 4 “Let Rome in Tiber melt”: Hermaphroditic Transformation in Antonius and Antony and Cleopatra 75
12. Part II Ovidian Specters and Remnants
13. 5 Ovid’s Ghosts: Lovesickness, Theatricality, and Ovidian Spectrality on the Early Modern English Stage 93
14. 6 Medea’s Afterlife: Encountering Ovid in The Tempest 113
15. 7 Remnants of Virgil, Ovid, and Paul in Titus Andronicus 129
16. Part III Affect, Rhetoric, and Ovidian Appropriation
17. 8 Power, Emotion, and Appropriation in Ovid’s Tristia and Shakespeare’s Henry V 145
18. 9 Appropriating Ovid’s Tyrannical Raptures in Macbeth 163
19. 10 Ovid and the Styles of Adaptation in The Two Gentlemen of Verona 182
20. Part IV Ovid Remixed: Transmedial, Rhizomatic, and Hyperreal Adaptations
21. 11 “Truly, and very notably discharg’d”: The Metamorphosis of Pyramus and Thisbe and the Place of Appropriation on the Early Modern Stage 201
22. 12 The Golden Age Rescored?: Ovid’s Metamorphoses and Thomas Heywood’s The Ages 221
23. 13 “Materia conveniente modis”: Early Modern Dramatic Adaptations of Ovid 238
24. 14 Worse than Philomel, Worse than Actaeon: Hyperreal Ovid in Shakespeare’s Titus Andronicus 254
25. Index 275