By A. F. L. Beeston

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107. 64 Broude, ‘Roman and Goth in Titus Andronicus’, p. 29. 65 Broude, ‘Roman and Goth in Titus Andronicus’, p. 30. 66 Olaus Magnus, Description of the Northern Peoples [1555], translated by Peter Fisher and Humphrey Higgens (London: The Hakluyt Society, 1996), 3 vols, vol. 1, introduction, p. ix. 67 Magnus, Description of the Northern Peoples, vol. 1, introduction, p. lxi. Reformation and Deformation 27 Shakespeare very probably read at least some of Olaus Magnus,68 and might in any case have encountered these ideas in other places too, so he would almost certainly be well aware that Goths could stand with ease for a wide variety of religious and national identities.

228. 21 René Weis, ‘Caesar’s Revenge: A Neglected Elizabethan Source of Antony and Cleopatra’, Shakespeare Jahrbuch (1983), pp. 178–86. 22 Boas, University Drama in the Tudor Age, p. 276. 23 The suggestive conjunction of father / uncle confusion and the black clothing here certainly seems to anticipate Hamlet, as too does Cato’s observation that prodigies have recently been observed, Cornelia’s comparing of herself to Niobe just before her suicide, and Cleopatra’s comment that Ile bring thee to Great Alexanders Tombe, Where he, whome all the world could not suffice, In bare six foote of Earth, intombed lies.

69–71) What is important here is the unity of belief rather than its internal divisions. tentatively be read as formulating a message of reconciliation and tolerance as the only way out of the situation of oppositional violence’;76 and it is certainly easier to downplay the differences between Protestantism and Catholicism if they are placed in the context of an entirely different belief system such as Aaron’s. This is perhaps best illustrated by the way in which this process operates in another play, All’s Well That Ends Well.

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