List of Shakespearean settings

This is a list of the settings of Shakespeare's plays . Included are the settings of 38 plays, being the 36 plays contained in the First Folio, and Pericles, Prince of Tyre and The Two Noble Kinsmen .

Places mentioned in Shakespeare's ^[a] text are not listed unless he explicitly set at least one scene there, even where that place is important to the plot such as Syracuse in The Comedy of Errors or Milan in The Tempest . Similarly, the place where an historical or mythical event depicted by Shakespeare is supposed to have happened is not listed unless Shakespeare mentions the setting in the play's text, although these places are sometimes mentioned in the text or footnotes. For example, most editors place act 3 scene 2 of Julius Caesar ("Friends, Romans, countrymen...") ^[1] at "the Forum" ^[b] but there is no listing for the Forum on this page because Shakespeare's text does not specify it.

Contents:
Nations, cities and towns:
A | B | C | D | E | F | G | H | I | K | L | M | N | O | P | R | S | T | V | W | Y
Less-specific settings
More-specific settings
Settings by scene
References

Settings in Britain

Settings in Britain and France

Settings elsewhere

Nations, cities and towns

A

• Actium in Greece is the location of Antony's and Cleopatra's preparations for the Battle of Actium, and of the sea battle's spectators, in Antony and Cleopatra . ^{[5] [6] [7]}
• For Albania see "Illyria".
• Alexandria:
  • See also "Cleopatra's Monument" under more-specific settings below.
  • Alexandria in Egypt is the setting of the greatest number of scenes in Antony and Cleopatra . Also a number of scenes are set outside its walls, and in the camp of the Romans attacking it. ^{[8] [9] [10]}
• Angiers (Angers in France) and the camps and battlefields in its vicinity, especially the pavilion of the French king, are the settings of the second and third acts of King John . ^{[11] [12] [13]}
• Antioch in modern-day Turkey - but in the play referred to as located in Syria - is the setting of the opening scene, with its incest sub-plot, in Pericles . ^{[14] [15] [16]}
• Antium in present-day Italy is the Volscian city to which the banished Coriolanus travels to forge an alliance with Aufidius, in Coriolanus, and is the setting of the play's climax. ^{[17] [18] [c]}
• Athens:
  • See also "Forest" under less-specific settings, below.
  • Athens in modern-day Greece is the setting of a short scene between Antony and his new wife Octavia, in Antony and Cleopatra . ^{[19] [20] [21] [22]}
  • Athens in modern-day Greece, but in the world of the play a city-state governed by a duke - and a forest outside its walls - are the settings of A Midsummer Night's Dream . ^{[23] [24] [25] [26]}
  • Athens in modern-day Greece - and a forest outside its walls - are the settings of Timon of Athens . ^{[27] [28] [29]}
  • Athens in modern-day Greece, but in the world of the play a city-state governed by duke Theseus accompanied by his wife Hippolyta, is the primary setting of The Two Noble Kinsmen . ^{[30] [31]}
• For Austria see "Vienna".

B

• Barnet in England is the site of the Battle of Barnet, at which Warwick died, and which is dramatized in Henry VI, Part 3 . ^{[32] [33]}
• Belmont is a fictional estate some twenty miles from Venice, Italy: the home of Portia and her household, and the setting of the "casket" scenes, and of the play's conclusion, in The Merchant of Venice . ^{[34] [35] [36] [37]}
• For Berkeley see "Berkeley Castle" under more-specific settings below.
• For Berwick see the "England" entry for Henry VI, Part 3.
• Bohemia , the landlocked modern-day Czechia, is, in The Winter's Tale , a coastal kingdom of which Polixenes is the king. It is the setting of the end of Act 3 and the whole of the long act 4. ^{[38] [39] [40]}
• Bordeaux in France is the setting of the defeat of Talbot, and of the deaths of him and his son John, in Henry VI, Part 1 . ^{[41] [42] [43]} In two related parallel scenes without specific locations, York and his army, then Somerset and his army, fail to send reinforcements to Talbot. ^[d]
• For Bosnia and Herzegovina see "Illyria".
• Bosworth in England, site of the battle of Bosworth Field, including the camps of both armies, and the tents of the leaders Richmond and Richard, are the settings of the climactic scenes of Richard III . ^{[44] [45] [46]}
• For Bristol see "Bristol Castle" under more-specific settings below.
• Britain:
  • See also "England", "Scotland" and "Wales".
  • Britain in the Roman era is the primary setting of Cymbeline . Shakespeare does not locate King Cymbeline's court any more precisely. ^{[47] [48] [49]}
  • Britain in the pre-Christian era is the only setting of King Lear . In the world of the play the only location specified is Dover. The other significant settings (the homes of Lear, of Goneril and Albany, and of Gloucester, and the various outdoor settings) are not identified any more specifically. ^{[50] [51]}
• ForBury St Edmundssee "St Edmundsbury".

C

• Corioli (typically spelled Corioles in the First Folio) in modern-day Italy, although its precise location is unknown - and the battlefield and the trenches of the Romans attacking it - are the settings of the scenes in which Caius Martius earns the honorary name "Coriolanus", in Coriolanus . ^{[52] [53] [54] [55]}
• Coventry:
  • Coventry in England is the setting of the lists at which Mowbray and Bolingbroke are scheduled to fight in Richard II . ^{[56] [57]}
  • Near Coventry , in England, Falstaff delivers a soliloquy about his abuse of the King's press, in Henry IV, Part 1 . ^{[58] [59] [60] [61]}
  • Coventry in England is the setting of Clarence's defection back to Edward's party, in Henry VI, Part 3 . ^{[62] [63]}
• For Croatia see "Illyria".
• Cyprus is the setting of the last four acts of Othello. No specific town or city within Cyprus is mentioned. ^{[64] [65] [66]}
• For Czechia see "Bohemia".

D

• ForDenmarksee "Elsinore".
• Dover in England and various places in its vicinity, including the camps of the French and British armies nearby, are settings in the latter half of King Lear . ^{[67] [68] [51] [69]}

E

• For Egypt see "Alexandria" and, under more-specific settings below, "Cleopatra's Monument".
• Elsinore:
  • See also "Graveyard" under less-specific settings, below.
  • Elsinore (i.e. Helsingør in Denmark), particularly its castle and its environs, are the only settings of Hamlet . The only scenes outside the castle are one on the Danish coast (act 4 scene 4) where Hamlet sees the Norwegian forces, and one set in a graveyard (act 5 scene 1). ^{[70] [71] [72] [73]}
• England:
  • See also "Barnet", "Bosworth", "Coventry", "Dover", "London", "Rochester", "Salisbury", "Shrewsbury", "Southampton", "St Albans", "St Edmundsbury", "Tewkesbury", "Wakefield", "Windsor" and "York", and, under less-specific settings, below, "Castle", and, under more-specific settings below, "Baynard's Castle", "Blackfriars", "Eastcheap", "Ely House", "Forest of Arden", "Gad's Hill", "Garter Inn", "Gaultree Forest", "Gloucestershire", "Herne's Oak" "Kenilworth Castle", "Kimbolton Castle", "Pomfret Castle" "Southwark", "Swinstead Abbey" "Temple Garden", "Tower of London" "Westminster Palace" and "York Place".
  • See also "English Court" under more-specific settings below.
  • The frame story of The Taming of the Shrew (i.e. the two scenes of the "Induction" and a short exchange at the end of act 1 scene 1), in which the drunken tinker Christopher Sly is persuaded he is a lord and is invited to watch a play, has no specified setting, but appears to be in England since Sly claims to be from Burton Heath, ^[74] Warwickshire, and to know a "fat alewife of Wincot". ^{[75] [76]}
  • England , probably at the court of Edward the Confessor, is the setting of a lengthy scene in which Malcolm tests Macduff's loyalty, and then Macduff learns of the murder of his family, in Macbeth . ^{[77] [78] [79]}
  • England , somewhere near the border by Berwick (which was, at the time the play is set, in Scotland), King Henry visits his former dominions, and is captured by two keepers, in Henry VI, Part 3 . ^{[80] [81] [82]}
  • " England " is the only location given in a stage direction in Henry VI, Part 3 , presumably to clarify the location since the scene (act 4 scene 2) includes French soldiers. Neither it nor the following scene, in which Warwick's powers overcome Edward's guards at his tent and take him prisoner, is given any more specific location. ^{[83] [84]}
• Ephesus:
  • See also "Diana's Temple at Ephesus" under more-specific settings, below.
  • Ephesus , in modern-day Turkey, but in the play a city state governed by a Duke, is the only setting of The Comedy of Errors . ^{[85] [86] [87]}
  • Ephesus , in modern-day Turkey, is the scene of Thaisa's rescue by Cerimon, and later of Thaisa's reconciliation with Pericles at Diana's temple, in Pericles . ^{[88] [15] [89]}

F

• Fife in Scotland is the home of Lady Macduff and her children, and the setting of their murders in act 4 scene 2 of Macbeth . ^{[90] [91]}
• For Flint see "Flint Castle" under more-specific settings below.
• Florence , in modern-day Italy but in the play an independent state governed by a duke, is the place to which Bertram runs away to take part in the Tuscan Wars, in All's Well That Ends Well , and is the setting of the gulling of Paroles, and of the bed-trick played upon Bertram by Helen and Diana. ^{[92] [93] [94]}
• Forres in Scotland is the site of Duncan's court in the early part of Macbeth . ^{[95] [96]}
• France:
  • See also "Angiers", "Bordeaux", "Harfleur", "Marseille", "Orleans", "Paris", "Rouen", "Roussillon" and, under less-specific settings, below, "Battlefield" and "Castle", and, under more-specific settings below, "Agincourt", "Auvergne", "Forest of Arden" and "French Court".
  • France is the location of As You Like It . The location of the scenes in Duke Frederick's court, and at Oliver's house, are not specified any more accurately. ^{[97] [98] [99] [100]}
  • France is the location of most of the last four acts of Henry V . Some scenes are not located more specifically, but occur on the march between Harfleur and Calais. ^{[101] [102] [103]}

G

• For Greece see "Actium", "Athens", "Mytilene", "Philippi" and "Thebes".

H

• Harfleur in France is the setting of the Siege of Harfleur, dramatized in the third act of Henry V . ^{[104] [105]}
• ForHarlechsee "Wales".
• ForHelsingørsee "Elsinore".
• ForHighamsee "Gad's Hill" under more-specific settings below.

I

• Illyria , a coastal region on the eastern Adriatic sea, including parts of modern-day Croatia, Bosnia and Herzegovina, Montenegro and Albania, is the only setting of Twelfth Night . ^{[106] [107]}
• Inverness in Scotland is the location of Macbeth's castle prior to his becoming king, and is the setting of the events surrounding the murder of Duncan, in Macbeth . ^{[108] [109]}
• For Iran see "Parthia".
• For Iraq see "Parthia".
• For Italy see "Antium", "Belmont", "Corioli", "Florence", "Mantua", "Messina", "Milan", "Padua", "Rome", "Sicily", "Venice", "Verona" and, under more-specific settings below, "Capitol" and "Pompey's Galley".

K

• For Kenilworth see "Kenilworth Castle" under more-specific settings below.
• For Kimbolton see "Kimbolton Castle" under more-specific settings below.

L

• For Libya see "Pentapolis".

"It is a truism that every Shakespearean city is always, to some degree, London."

Kent Cartwright ^[110]

• London:
  • See also "English Court" under more-specific settings below.
  • See also "Baynard's Castle", "Blackfriars", "Eastcheap", "Ely House", "Southwark", "Temple Garden", "Tower of London, "Westminster Palace" and "York Place" under more-specific settings below, and "Road" under less-specific settings below.
  • London and Kent provide a series of settings for the rebellion of Jack Cade and its aftermath, dramatized in Henry VI, Part 2. Among the locations speculated by editors from clues in the text or from historical sources, but not explicitly stated by Shakespeare, are Blackheath, Sevenoaks, Cannon Street and Smithfield. The home of Alexander Iden, who captures and kills Jack Cade, has been placed in the counties of Sussex or Kent. ^{[e] [112]} See also "Tower of London" and "Southwark" under more-specific settings below.

M

• Mantua in present-day Italy is the city to which Romeo flees when exiled in Romeo and Juliet , where he hears of Juliet's supposed death and purchases the poison which will eventually kill him. ^{[113] [114] [115]}
• Marseille , in France, is the setting of a short scene in All's Well That Ends Well . Helen, Diana and the Widow have followed the King there, only to learn that he has moved on to Roussillon. ^{[116] [117] [118]}
• Messina:
  • See also "Pompey's Court" under more-specific settings below.
  • Messina , on Sicily in modern-day Italy, is the only location of Much Ado About Nothing . ^{[119] [120]}
• Milan:
  • See also "Forest" under less-specific settings, below.
  • Milan in modern-day Italy, but in the play governed by a duke, is the setting of most of the action of The Two Gentlemen of Verona . ^{[121] [122] [123]}
• Milford Haven in Wales, and the area surrounding it, are the settings of most of the second half of Cymbeline , including the cave of Belarius, the site of the battle between Rome and Britain, and the denouement at Cymbeline's camp. ^{[124] [125]}
• For Montenegro see "Illyria".
• Mytilene on Lesbos in modern-day Greece is the location of the brothel to which Marina is sold, and is the setting (together with Pericles' ship, while moored there) of much of the last two acts of Pericles . ^{[126] [127] [128]}

N

• ForNaplessee "Pompey's Galley" under more-specific settings, and "Sea" under less-specific settings, below.
• Navarre in present-day Spain but in the play an independent kingdom whose fictional king, Ferdinand, is one of the central characters, is the only setting of Love's Labour's Lost . ^{[129] [130] [131]}

O

• Orleans:
  • Near Orleans in France is the site of the Dauphin's first meeting with Joan in Henry VI, Part 1 . ^{[132] [133]}
  • Orleans in France is the site of the first conflict between Joan and Talbot in Henry VI, Part 1 . ^{[134] [135] [43]}

P

• Padua in modern-day Italy is the primary setting of The Taming of the Shrew . ^{[136] [137] [138] [139]}
• Paris:
  • See also "French Court" under more-specific settings below.
  • Paris , in France, is the setting of the court scenes of All's Well That Ends Well . ^{[140] [141]}
  • Paris in France is the setting of Henry VI's coronation and the events surrounding it in Henry VI, Part 1 . ^{[142] [143]}
• Parthia at its border with the Roman Empire in modern-day Syria, Iran or Iraq is the scene of Ventidius' victory over Pacorus, in Antony and Cleopatra . ^{[144] [145] [146]}
• Pentapolis in modern-day Libya is the setting of the middle-part of Pericles , where the title character is shipwrecked, and meets his wife Thaisa. ^{[147] [148] [149]}
• Philippi , in Macedonia in present-day Greece, is the site of the Battle of Philippi which forms the action of the fifth act of Julius Caesar . ^{[150] [151] [152] [153]}
• For Pontefract see "Pomfret Castle" under more-specific settings below.

R

• Rochester:
  • See also "Gad's Hill" under more-specific settings below.
  • Rochester in Kent, England, is the setting of a scene in an inn yard in Henry IV, Part 1 in which the Gad's Hill robbery is planned. ^{[154] [155]}
• Rome:
  • See also "Capitol" under more-specific settings and "Forest" under less-specific settings, below.
  • Rome in modern-day Italy is the secondary setting of Antony and Cleopatra , contrasted throughout the play with Alexandria. ^{[156] [157]}
  • Rome in modern-day Italy, and later in the play the camp of the Volscian army threatening it, are the primary settings of Coriolanus . ^{[158] [159]}
  • Rome in modern-day Italy is the site of the home of Philario, where Posthumus encounters Iachimo and wagers upon Innogen's loyalty, and also the setting of a short scene between two senators and a tribune at the end of act 3, of Cymbeline . ^{[160] [161] [162] [163]}
  • Rome in modern-day Italy is the settling of the whole of the first three acts of Julius Caesar . ^{[164] [165] [166]}
  • Rome in modern-day Italy, together with a forest outside it, and the camp of the Goths led by Lucius preparing to attack it, are the only settings of Titus Andronicus . ^{[167] [168] [169]}
• Rouen:
  • See also "French Court" under more-specific settings below.
  • Rouen in France is captured by Joan and the French, then recaptured by Talbot and the English, in Henry VI, Part 1 , and is the site of the Duke of Burgundy's defection to the French side; and later is the scene of Joan's execution at the stake. ^{[170] [171] [172]}
• Roussillon in France, of which Bertram is the young Count, is a setting of several episodes in All's Well That Ends Well , including its beginning and ending. ^{[173] [174] [141] [175]}

S

• Salisbury in England is the setting of the death of Buckingham in Richard III . ^{[176] [177] [178]}
• Sardis in present-day Turkey, at Brutus' camp and mainly in his tent, is the setting of most of Act 4 of Julius Caesar , including the conflict between Brutus and Cassius and the first appearance of Caesar's ghost. ^{[179] [180]}
• Scotland:
  • See also "Fife", "Forres" and "Inverness", and, under more-specific settings below, "Birnam Wood" and "Dunsinane Hill".
  • Scotland is the setting of most of Macbeth : and the witches' scenes and most outdoor scenes do not have any more specific setting. ^{[181] [182] [183]}
• Shrewsbury in England, the camps of the opposing forces, and the battlefield, are the settings of the Battle of Shrewsbury, which comprises most of the action of the last two acts of Henry IV, Part 1 . ^{[184] [185] [186] [187]}
• Sicily:
  • See also "Messina", and, under more-specific settings below, "Pompey's court".
  • Sicilia in modern day Italy, but in the world of the play a kingdom of which Leontes is the king, is the setting of acts 1, 2, most of 3, and 5 of The Winter's Tale . ^{[188] [39] [189]}
• Southampton in England is the setting of Henry's departure for France, and of the exposure of the traitors Cambridge, Scroop and Grey, in Henry V . ^{[190] [191] [192]}
• For Spain see "Navarre".
• St Albans in England is the setting of several scenes surrounding Cardinal Beaufort's opposition to the Lord Protector in Henry VI, Part 2 , and later the play climaxes at the Battle of St Albans. ^{[193] [194] [195] [196]}
• St Edmundsbury (i.e. Bury St Edmunds in England) is the setting of a battle between the forces of King John and the Dauphin in the final act of King John . ^{[197] [198]}
• For Syria see "Antioch" and "Parthia".

T

• Tarsus in modern-day Turkey is the place where the child Marina is fostered to Cleon and Dionyza, and the location of the later plot to murder her, in Pericles . ^{[199] [15] [200]}
• Tewkesbury in England is the site of the Battle of Tewkesbury, which secured Edward's victory, and which is dramatized in Henry VI, Part 3 . ^{[201] [202] [203]}
• Thebes in modern-day Greece, but in the play governed by the tyrant Creon, is the setting of our first encounter with Palamon and Arcite, the title characters of The Two Noble Kinsmen . ^{[204] [205]}
• ForTowtonsee "York".
• Troy:
  • See also "Ilium" under more-specific settings below.
  • Troy in modern-day Turkey, the camp of the Greek soldiers besieging it, and the battlefield outside it, are the settings of Troilus and Cressida . ^{[206] [207] [208]}
• ForTunissee "Sea" under less-specific settings, below.
• For Turkey see "Antioch", "Ephesus", "Sardis", "Tarsus" and "Troy" and, under more-specific settings below, "Ilium".
• Tyre in modern-day Lebanon is the home of the title character of Pericles, Prince of Tyre and the setting of several scenes in the first act, before he embarks upon the journey which comprises most of the play's plot. ^{[209] [15] [210]}

V

• Venice:
  • Venice in modern-day Italy, but in the play governed by a duke, is the primary setting of The Merchant of Venice . ^{[211] [36] [212] [213]}
  • Venice in modern-day Italy, but in the play governed by a duke, is the setting of the first act of Othello . ^{[214] [215] [65] [216]}
• Verona:
  • Verona in modern-day Italy is the main setting of Romeo and Juliet . ^{[217] [218]}
  • Verona in modern-day Italy is the home of Petruchio in The Taming of the Shrew , and the setting of most of the 4th act. ^{[219] [220]}
  • Verona in modern-day Italy is the original home of Julia, Valentine and Proteus in The Two Gentlemen of Verona and is the setting of most of the first two acts. ^{[221] [222] [223] [224]}
• Vienna:
  • Vienna in present-day Austria, although not literally a setting of Hamlet , is the setting of its play-within-a-play The Murder of Gonzago, also known as The Mousetrap. ^{[225] [130] [226]}
  • Vienna in present-day Austria, but in the play a city state governed by a duke, is the only setting of Measure for Measure . ^{[227] [228] [229]}

W

• Wakefield in England is the site of the Battle of Wakefield, dramatized in Henry VI, Part 3 , in which young Rutland, and later his father the Duke of York, are killed by Clifford and the Queen. ^{[230] [231]}
• Wales:
  • See also "Milford Haven" and, under more-specific settings below, "Flint Castle".
  • Wales is the setting of two related scenes in Richard II . In the first, which is given no more specific location, the Earl of Salisbury is abandoned by the king's Welsh forces. ^[f] The related scene of King Richard's return from Ireland to discover he has no military support is, in the text, set near "Barkloughly Castle", which means Harlech Castle. ^{[g] [232] [234] [235]}
  • Wales , without being specified more accurately in the text, is the location of Glendower's court, where the rebels - Glendower, Mortimer, Worcester and Hotspur - meet to plan the division of the kingdom, in Henry IV, Part 1 . ^{[h] [237] [236]}
• Windsor
  • See also, under more-specific settings below, "The Garter Inn" and "Herne's Oak".
  • Windsor in England and its environs are the only setting of The Merry Wives of Windsor . ^{[238] [239] [240] [241]}

Y

• York:
  • See also "Park" under less-specific settings below.
  • York in England is the place where Queen Margaret has had the Duke of York's head placed above the gates in Henry VI, Part 3 . ^{[242] [243]}
  • Near York in England, and immediately following the scene mentioned above, are several battle scenes which dramatize the Battle of Towton, although Shakespeare does not mention Towton as a location, in Henry VI, Part 3 . ^{[244] [245]}
  • York in England is the setting of a stand-off where Edward is, at first, barred the gates by the Mayor, and then of the alliance between Edward and Montgomery, in Henry VI, Part 3 . ^{[246] [247]}

Less-specific settings

• Battlefield:
  • For specific battlefields, see the entry for the place after which the battle is named.
  • An unnamed battlefield is the setting of a supernatural scene in which Joan communes with fiends, in Henry VI, Part 1 , followed by her capture, and then Suffolk captures Margaret. Historically, Joan was captured at Compiègne in France, and Suffolk's capture of Margaret is unhistorical. ^{[248] [249]}
• Castle:
  • For specific castles identified by Shakespeare, see more-specific settings below.
  • A castle somewhere in England is the setting of the death of Arthur in King John . There is an internal scene in which Arthur persuades Hubert not to kill him, and an external scene in which Arthur dies in trying to escape, and his body is discovered. Shakespeare gives no indication which castle is intended: speculation has included Northampton, Dover, Canterbury or the Tower of London. ^[250] Historically, Arthur was not held in England at all, but at Rouen Castle in France. ^{[251] [252]}
  • In Henry IV, several scenes (act 2 scene 3 of Part 1, and act 1 scene 1 and act 2 scene 3 of Part 2) are set at the castles which are the homes of Hotspur and Northumberland, without the location being specified other than being described by Rumour as "this worm-eaten hole of ragged stone". ^[253] Historically in both cases this would have been Warkworth Castle. ^{[254] [255]}
  • In Henry VI, Part 3, a scene is set at "your Castle", ^[256] near Wakefield: meaning York's. Historically, that was Sandal Castle. ^[257]
• Forest:
  • Where a setting is a named forest which exists in the real world, it is listed instead under more-specific settings below.
  • A forest outside Athens is the primary location of the middle three acts of A Midsummer Night's Dream . ^[258]
  • A forest outside Athens - featuring the mouth of a cave in which Timon is dwelling - is the setting of much of the last two acts of Timon of Athens . ^[259]
  • A forest outside Athens is the setting of the middle act of The Two Noble Kinsmen . ^{[260] [261] [262]}
  • A forest outside Milan is the home of the outlaws of whom Valentine becomes the leader in The Two Gentlemen of Verona , and is the setting of the play's climax. ^{[263] [264]}
  • A forest near Rome is the setting of the second act of Titus Andronicus , comprising the murder of Bassianus and the framing of Titus' sons for it, and of the rape and mutilation of Lavinia. ^[265]
• Gaol:
  • An unspecified gaol is the setting of the (unhistorical) meeting of York with Mortimer in Henry VI, Part 1 . ^[266]
• Graveyard:
  • A graveyard near Elsinore is the setting of the "Alas, poor Yorick" ^[267] sequence, and of the funeral of Ophelia, in act 5 scene 1 of Hamlet. ^{[268] [269] [270]}
• Island:
  • An unnamed remote island is the setting of the whole of The Tempest except for the opening storm scene at sea. ^{[271] [272] [273]}
• Park:
  • A park, where Edward is out hunting accompanied by his captors, is the setting of the rescue of Edward by Richard and his followers, in Henry VI, Part 3 . The only textual hint to its location is that Edward is the prisoner of the Bishop of York. Historically, Edward was held at Middleham Castle, in Yorkshire. ^{[274] [275] [276] [277]}
• Road:
  • The road from Verona to Padua is the setting of the "How bright and goodly shines the moon!" ^[278] scene of The Taming of the Shrew . ^[279]
  • The Road from Rome to Antium may be the setting of a scene in Coriolanus. ^[i]
  • The road to the Tower of London is the setting of the final parting of Queen Isabel and King Richard, in Richard II . ^{[280] [281]}
  • The road to Westminster Abbey, for the coronation of Henry V, is the setting of the climax - with the final rejection of Falstaff - of Henry IV, Part 2. ^[282]
  • On a march sometime after the Battle of Wakefield the three sons of York witness the vision of the three suns in the sky, learn the details of their father's death, and meet Warwick who gives them the bad news of the outcome of the second battle of St Albans, in Henry VI, Part 3 . ^{[j] [k] [283]}
  • A street in London is the setting of several scenes in Henry VIII , in which some gentlemen meet to discuss the affairs of the day, and in one case to witness the coronation procession of Anne Bullen. ^[285]
• Ship:
  • Pericles' ship, on its voyage around the Mediterranean, is the setting of various scenes in Pericles . ^[286]
  • A ship threatened by a storm on a voyage from Tunis to Naples is the setting of the opening scene of The Tempest . ^[287]

More-specific settings

Locations identified as being in or around the home of a specific character are not listed, including where that home is a "castle", "cave" or "cell". Similarly, the "court" of any character who is a ruler is not listed unless Shakespeare gives it a specific location. Also not listed are generic locations such as "abbey", "brothel", "mart", "palace", "prison", "seashore" or "street", nor buildings given fictional names such as "the Porpentine", "the Phoenix" and others in The Comedy of Errors or "the Elephant" in Twelfth Night.

Military camps are not listed separately, and where relevant are mentioned under the name of the city being besieged or the place after which the battle is named.

Many Shakespearean characters are named after places: usually because they are known by their noble title rather than their actual name. This list does not assume that the homes of those characters are in that place unless Shakespeare's text explicitly places them there: even where that was true of the historical person upon whom the character is based. For example, there is no listing on this page for Gloucester in England (although see "Gloucestershire" below) even though there are characters usually described as Gloucester in King Lear , Henry IV (Part 2) , Henry V , all three parts of Henry VI, and Richard III , and some scenes are set at their homes.

• Agincourt (i.e. Azincourt in France) the site of the Battle of Agincourt, and the camps of the French and English soldiers, are the settings of the main episode of Henry V including Henry's decisive victory. ^{[288] [289]}
• ForArdenorArdennessee "Forest of Arden".
• Auvergne in France is the setting of the Countess of Auvergne's attempt to entrap Talbot, in Henry VI, Part 1 . ^{[290] [291]}
• ForBarkloughly Castlein Richard II, see "Wales" under nations, cities and towns above.
• Baynard's Castle , then in London, England (not to be confused with Barnard Castle) is the setting of the Lord Mayor and citizens' plea to Richard to become king, in Richard III . ^{[292] [293]}
• Berkeley Castle is the destination of a scene in which the Duke of York encounters Bolingbroke and his supporters, in Richard II . ^{[294] [295]}
• Birnam Wood in Scotland is the rendezvous of the Scottish and English forces opposing Macbeth, in Macbeth . In a short scene set there, Malcolm fulfils the witches' prophecy that "Macbeth shall never vanquished be until great Birnam Wood to high Dunsinane Hill shall come against him" ^[296] by ordering his soldiers to each cut down a bough from the forest and carry it before them. ^{[297] [298] [299]}
• Blackfriars in London, England, is the setting of the trial of Queen Katherine in Henry VIII , and of the subsequent scene (historically at the adjoining Bridewell Palace) in which Katherine and her women commune with Wolsey and Campeius. ^{[300] [301] [302]}
• ForBoar's Headsee "Eastcheap".
• Bristol Castle is the scene of the condemnation and deaths of Bushy and Green in Richard II . ^{[303] [304]}
• Capitol:
  • Peter Holland, referring to Shakespeare's plays set in Ancient Rome, says: "Shakespeare appears to have assumed that the Capitol was the seat of the Senate but it was properly, to be pedantic, the temple of Jupiter on the Capitoline Hill while the Senate met near the Forum." ^{[305] [306]}
  • The Capitol in Rome in present-day Italy is where Coriolanus stands for the role of Consul, in Coriolanus . ^{[307] [305]}
  • The Capitol in Rome in present-day Italy is the setting of the murder of Caesar in Julius Caesar . ^{[308] [309] [310]}
• Cleopatra's Monument in Alexandria, Egypt, is the setting of the climax of Antony and Cleopatra , including the deaths of both title characters. ^{[311] [312] [313] [314]}
• Diana's Temple at Ephesus is the scene of the climax of Pericles , the reconciliation of Pericles and Thaisa. ^{[315] [316]}
• Dunsinane Hill in Scotland is fortified by Macbeth, and is the site of his final battle and death, in Macbeth . ^{[317] [318]}
• Eastcheap in London, England, is the location of a tavern frequented by Falstaff, Hal and their companions in Henry IV part 1 and part 2 . It is often labelled the "The Boar's Head" after a real inn in Eastcheap, although that name is never used by Shakespeare. ^{[319] [320] [321] [322]} The context suggests that the scenes surrounding Falstaff's death in Henry V happen in the same location. ^{[323] [324] [325]}
• Ely House in Holborn, London, England, is the setting of John of Gaunt's "This sceptred isle" ^[326] speech, and his death, in Richard II. ^{[327] [328] [329]}
• English Court. Many scenes in the English history plays are set at the English court, without the king's palace being named. The main seats of the court in Shakespeare's time (Greenwich, Hampton Court and Whitehall) had not been built at the time of the Wars of the Roses, so in most cases the court, historically, would have met at the Tower of London, although Richmond was favoured by Richard II. Windsor was a day's journey from London, and several events dramatized by Shakespeare happened at Westminster. ^{[330] [331] [332] [w]}
• Flint Castle in Wales is the setting of Richard's surrender to Bolingbroke in Richard II . ^{[359] [360] [361]}
• The Forest of Arden is the setting of the whole play As You Like It , other than the court scenes and those set at Oliver's house. Since the play is set in France it may represent the Ardennes Forest, or equally for its original audiences, the Forest of Arden in Warwickshire, England, Shakespeare's home county. ^{[362] [98] [99] [100]}
• French Court: Similarly to the English court, Shakespeare sometimes places scenes in the French court, without giving its location. ^[z]
• Gad's Hill , now part of Higham, near Rochester, in Kent, England, is the setting of a robbery committed by Falstaff and his followers, and then of another robbery committed upon them by Poins and Hal, in Henry IV, Part 1. ^{[370] [371] [372] [373] [374]}
• The Garter Inn is the lodging of Sir John Falstaff, and as such the setting of many scenes in The Merry Wives of Windsor . ^{[375] [376]}
• Gaultree Forest , England, is the setting of an episode separate from the main plot of Henry IV, Part 2 which takes up much of its fourth act. ^{[377] [378] [379]}
• Gloucestershire:
  • Gloucestershire , a county in England, on the route to Berkeley Castle, is the setting of a scene between Bolingbroke and his supporters in Richard II . ^{[380] [295]}
  • Gloucestershire , a county in England, without any specific town or city being specified, is the home of Justice Shallow and the setting of several rural scenes in Henry IV, Part 2. ^{[381] [382]}
• ForHarlech Castlesee "Wales" under nations, cities and towns above.
• Herne's Oak, a tree in Windsor Park, is the meeting place for the final humiliation of Falstaff, and the setting of the climax of The Merry Wives of Windsor . ^{[383] [384] [385]}
• Ilium, the royal palace of Troy in present-day Turkey, is the setting of most scenes set within Troy's walls in Troilus and Cressida : Ilium, Ilion or Ilyion are also alternative names for the city of Troy, named after its founder Ilus. ^[386]
• ForJerusalem Chambersee "Westminster Palace" below.
• Kenilworth Castle in England is where Henry learns of the defeat of Cade, and then of the threat from York, in Henry VI, Part 2 . ^{[387] [388]}
• Kimbolton Castle in England is the home of the divorced queen Katherine in Henry VIII . ^{[389] [390] [391]}
• ForKentsee "London and Kent" under "London" above.
• Pomfret Castle:
  • Pomfret Castle (i.e. Pontefract Castle in England) is the setting of the killing of King Richard by Piers of Exton in Richard II . ^{[392] [393] [394]}
  • Pomfret Castle (i.e. Pontefract Castle in England) is the setting of the execution of Rivers, Grey and Vaughan in Richard III . ^{[395] [396]}
• Pompey:
  • Pompey's Court is a setting in Antony and Cleopatra . Its location (historically on Sicily in present-day Italy) is not specified in the text. ^{[397] [398]}
  • Pompey's Galley is the setting of the central "What manner o'thing is your crocodile?" ^[399] scene of Antony and Cleopatra . ^{[400] [401]} The prior scene on land (act 2 scene 6) is not given a location in the text. In Shakespeare's sources it occurs "by the mount of Misena", which is in the vicinity of Naples in modern-day Italy. ^{[402] [403]}
• ForRichmond Palacesee "English Court".
• Southwark in London, England, is one of the locations of Jack Cade's rebellion in Henry VI, Part 2 . ^{[404] [405]} See also "London and Kent" under "London" above.
• Swinstead Abbey is an abbey in Lincolnshire, England, whose orchard is the setting of the death agonies of King John, supported by his Barons, in King John . In history, it is Swineshead Abbey that King John visited, and the confusion of Swinstead and Swineshead was common in the late-sixteenth century. ^{[406] [407]}
• The Temple Garden in London, England, is the setting of the debate between York and Somerset in Henry VI, Part 1 , in which the nobles each pluck a white or red rose, establishing their factions for the Wars of the Roses. ^{[408] [409] [43]}
• Tower of London:
  • See also "English Court".
  • See also "Road" under less-specific settings, above.
  • The Tower of London is the setting of the conflict between Gloucester's men in blue coats, and Winchester's men in tawny coats, in Henry VI, Part 1 . ^{[410] [411]}
  • The Tower of London is the setting of a short scene in which Lord Scales promises to send Matthew Gough to fight Jack Cade, in Henry VI, Part 2 . ^{[412] [413]}
  • The Tower of London is the setting of two scenes in Henry VI, Part 3 . In the first, Henry is freed from captivity to join his new allies, Warwick and Clarence. ^{[414] [415]} In the other, the recaptured Henry is murdered in his cell by Richard. ^{[416] [417] [178]}
  • The Tower of London is the setting of several scenes in Richard III including:
    • A scene in which Clarence recounts his feverish dream, and then is murdered. ^{[418] [419]}
    • The setting of the divided councils at which Hastings is condemned to death, and its aftermath. ^{[420] [421]}
    • An external scene in which Elizabeth and the other women are refused access to the princes in the Tower. ^{[422] [423]}
• ForWestminster Abbeysee "Westminster Palace", and, under less-specific settings above, "Road".
• Westminster Palace in London, England, is the location of the court scenes of Henry IV, Part 2 , including the final confrontation and reconciliation of Henry and Hal, and the king's death. Inconsistently, the Jerusalem Chamber (where the king collapses and later dies) is in fact in Westminster Abbey. ^{[424] [425]}
• ForWhitehallsee "York Place".
• ForWindsor Castlesee "English Court".
• ForWindsor Parksee "Herne's Oak".
• York Place in London, England, is renamed Whitehall during the course of the action of Henry VIII ("Sir, you must no more call it York Place ... 'tis now the King's, and called Whitehall."). ^[426] According to Shakespeare and Fletcher's source Holinshead, York Place was the venue of the feast dramatized in the first act, at which, unhistorically, the king first meets Anne Bullen. ^{[427] [390] [428] [429]}

Settings by scene

"Too precise effort on the part of editors to indicate locations misrepresents the practices of Elizabethan stagecraft, which allowed the spoken language to establish place whenever an exact sense is required."

David Scott Kastan ^[430]

This table lists each scene in the 38 plays covered by this article, and gives its location. Unlike the section "More-specific settings" above, the "specific setting" column does include the homes of particular characters, and generic non-geographical settings such as "market-place". Where the location is not specified in Shakespeare's text, the table will say "Not specified" but, where relevant, its footnote will mention the settings suggested by scholars or by Shakespeare's sources. The table acknowledges that all of the plays are set in a patriarchy, so, for example, lists "Baptista's home", not "Katherina's home" or "Bianca's home", even though all three characters live there at the outset.

The early texts of neither Henry IV, Part 1 nor As You Like It contain any indications of their scenes' locations in their stage directions. ^{[430] [431]} In the public theatres between 1592 and 1607, continuous flow, rather than act intervals, was the performance practice. ^[432] Michael Hattaway says " 1 Henry VI was written for and, in my opinion, demands to be acted upon a stage which makes no attempt to create scenic illusion." ^[433]

Plays on Early Modern public stages were not divided into acts and scenes, although they were at the private theatre at Blackfriars. ^[434] All act and scene divisions in the table are taken from The Oxford Shakespeare - The Complete Works (second edition) but these are not consistent across all modern editions of Shakespeare's plays. ^[aa]

Play	Act [ab]	Scene [ab]	Present- day Nation	Nation, City or Town	Specific Setting
All's Well That Ends Well	I	1	France	Roussillon [436]	The Count of Roussillon's palace [437] [438]
		2		Paris [439]	The King's palace [440]
		3		Roussillon	The Count of Roussillon's palace [441]
	II	1		Paris	The King's palace [442]
		2		Roussillon	The Count of Roussillon's palace [443]
		3		Paris	The King's palace [444]
		4
		5
	III	1	Italy	Florence [445] [446]	The Duke of Florence's palace [447]
		2	France	Roussillon	The Count of Roussillon's palace [448]
		3	Italy	Florence	The Duke of Florence's palace [449]
		4	France	Roussillon	The Count of Roussillon's palace [450]
		5	Italy	Florence	Outside Florence [451]
		6			The Florentine camp [452]
		7			The Widow's home [453]
	IV	1			Outside the Florentine camp [454]
		2			The Widow's home [455]
		3			The Florentine camp [456]
		4			The Widow's home [457]
		5	France	Roussillon	The Count of Roussillon's palace [458]
	V	1		Marseilles [459] [460]	Not specified [461]
		2		Roussillon	The Count of Roussillon's palace [462]
		3
	Epilogue		None	None	None
Antony and Cleopatra	I	1	Egypt	Alexandria	Cleopatra's court [463]
		2
		3
		4	Italy	Rome	Caesar's court [464]
		5	Egypt	Alexandria	Cleopatra's court [465]
	II	1	Not specified [ac]		Pompey's court [397]
		2	Italy	Rome	Caesar's court [466]
		3
		4
		5	Egypt	Alexandria	Cleopatra's court [467]
		6	Not specified [ad]		By Pompey's galley [402]
		7			Aboard Pompey's galley [401]
	III	1	Syria, Iran or Iraq [145] [146]	Parthia [468] [ae]	The battlefield [145] [146]
		2	Italy	Rome	Caesar's court [469]
		3	Egypt	Alexandria	Cleopatra's court [470]
		4	Greece	Athens [21]
		5	Egypt	Alexandria	Cleopatra's court [471]
		6	Italy	Rome	Caesar's court [472]
		7	Greece	Actium [6]	On shore [af]
		8
		9
		10
		11	Not specified [474] [ag]
		12	Egypt	Alexandria	Caesar's camp [475]
		13			Cleopatra's court [476]
	IV	1			Caesar's camp [477]
		2			Cleopatra's court [478]
		3			A camp
		4			Cleopatra's court [479]
		5			Cleopatra's court
		6			Caesar's camp [480]
		7 [ah]			The battlefield [481]
		8
		9			Cleopatra's court [482]
		10			Caesar's camp [483]
		11			The battlefield [484]
		12
		13			Not specified [485] [ai]
		14			Cleopatra's court
		15			The battlefield
		16			Cleopatra's monument [486]
	V	1			Caesar's camp [487]
		2			Cleopatra's monument [488]
As You Like It	I	1	France	France [100]	Oliver's orchard [489] [431]
		2			Duke Frederick's court [490]
		3
	II	1			The Forest of Arden [100] [491]
		2			Duke Frederick's court [492]
		3			Oliver's home [493]
		4			The Forest of Arden [494]
		5
		6
		7
	III	1			Duke Frederick's court
		2			The Forest of Arden [100]
		3
		4
		5
	IV	1
		2
		3
	V	1
		2
		3
		4
	Epilogue				None
The Comedy of Errors	I	1	Turkey	Ephesus [87]	Not specified [aj]
		2			Mart [496]
	II	1			Antipholus of Ephesus' home (The Phoenix) [497]
		2			Not specified [ak]
	III	1			Antipholus of Ephesus' home (The Phoenix) [499]
		2
	IV	1			Mart [500]
		2			Antipholus of Ephesus' home (The Phoenix) [501]
		3			Not specified [al]
		4
	V	1			Mart [503]
Coriolanus	I	1	Italy	Rome	Not specified [am]
		2		Corioli	Not specified [505]
		3		Rome	Coriolanus' [an] home [506]
		4		Corioli	Outside Corioli [507]
		5 [ao]
		6			Not specified [ap]
		7			Outside Corioli [511]
		8
		9
		10
		11			Outside Corioli [aq]
	II	1		Rome	Not specified [ar]
		2			The Capitol [305] [as]
		3			The market-place [514] [515]
	III	1			Not specified [at]
		2			Coriolanus' home [au]
		3			The market-place [518]
	IV	1			Not specified [av]
		2			Not specified [aw]
		3		Not Specified [i]	Not Specified [i]
		4		Antium [522]	Outside Aufidius' home [523]
		5			Aufidius' home [524]
		6		Rome	Not specified [ax]
		7			Volscian camp outside Rome [526]
	V	1			Not specified [ay]
		2			Volscian camp outside Rome [528]
		3			Volscian camp outside Rome [529] [az]
		4			Not specified [ba] [bb]
		5
		6		Antium [c]	Not specified [c]
Cymbeline	I	1	England	Britain	Cymbeline's court [535] [bc]
		2
		3
		4	Italy	Rome	Philario's home
		5	England	Britain	Cymbeline's court [537] [bc]
		6
	II	1
		2			Cymbeline's court - Innogen's bedchamber [538] [bc]
		3			Cymbeline's court - outside Innogen's bedchamber [538] [bc]
		4	Italy	Rome	Philario's home [539]
		5
	III	1	England	Britain	Cymbeline's court [540] [bc]
		2
		3	Wales	Milford Haven [bd]	Belarius' cave [541]
		4			Not specified [be]
		5	England	Britain	Cymbeline's court [543] [bc]
		6	Wales	Milford Haven [bd]	Belarius' cave [544]
		7	Italy	Rome	Not specified [bf]
	IV	1	Wales	Milford Haven [bd]	Near Belarius' cave [546]
		2			Belarius' cave [547]
		3	England	Britain	Cymbeline's court [548] [bc]
		4	Wales	Milford Haven [bd]	Near Belarius' cave [549]
	V	1			Near the Roman camp [550]
		2 [bg]			The battlefield [551]
		3 [bg]
		4 [bg]
		5 [bg]			The battlefield and a jail [bh]
		6 [bg]			Cymbeline's camp [553]
Hamlet	I	1	Denmark	Elsinore	The battlements [554]
		2			Claudius' court [555]
		3			Polonius' home [556]
		4			The battlements [557]
		5
	II	1			Polonius' home [558]
		2			Claudius' court [559]
	III	1
		2			Claudius' court [560] [bi]
		3			Claudius' court [562]
		4			Gertrude's closet [563] [bj]
	IV	1			Gertrude's closet [564] [bk]
		2			The palace [566]
		3
		4			Outside the palace [567]
		5			The palace [568]
		6			Not specified [bl]
		7			The palace [570]
	V	1			A graveyard [270]
		2			The palace [571]
Henry IV Part 1	I	1	England	London(?) [bm]	The English court [bn]
		2		London	Not specified [bo]
		3		London(?) [bm]	The English court [bn] [573] [bp]
	II	1		Rochester	An inn yard [155]
		2 [bq]		None	Gad's Hill [155] [br]
		3 [bq]
		4 [bq]		Not specified	Hotspur's home [bs]
		5 [bq]		London	A tavern in Eastcheap [574] [bt]
	III	1	Wales	Not specified	Not specified [h]
		2	England	London(?) [bm]	The English court [bn] [575] [bu]
		3		London	A tavern in Eastcheap [576] [bt]
	IV	1		Shrewsbury	The rebel camp [577]
		2		Coventry	Near Coventry [61]
		3		Shrewsbury	The rebel camp [578]
		4		Not specified	Not specified [bv]
	V	1		Shrewsbury [bw]	The royal camp [580]
		2			The rebel camp [581]
		3			The battlefield [582]
		4
		5			Not specified [bx]
Henry IV Part 2	Induction		None	None	None [by]
	I	1	England	England	The Earl of Northumberland's home. [584] [bz]
		2		London	Not specified [ca]
		3		England	Not specified [cb]
	II	1		London	Eastcheap [cc] [bt]
		2			Not specified [cd]
		3		England	The Earl of Northumberland's home. [591] [bz]
		4		London	A tavern in Eastcheap [592] [bt]
	III	1			Westminster Palace [593]
		2		England	Gloucestershire [594] [ce]
	IV	1			Gaultree Forest [596] [597]
		2
		3		London	Westminster Palace [332] [cf]
	V	1		England	Gloucestershire [599] [ce]
		2		London	Westminster Palace [600]
		3		England	Gloucestershire [601] [ce]
		4		London	A street near the tavern in Eastcheap [602] [bt]
		5			A street near Westminster Abbey [282] [cg]
	Epilogue		None	None	None
Henry V	Prologue		None	None	None
	I	1	England	London(?) [bm]	The English court [bn] [340]
		2
	II	Chorus	None	None	None
		1	England	London	Eastcheap [323] [bt] [ch]
		2		Southampton	Not specified [191] [603]
		3		London	Eastcheap [604] [bt] [ch]
		4	France	Not specified	The French court [ci] [603]
	III	Chorus	None	None	None
		1	France	Harfleur	The Siege of Harfleur [605] [606] [607] [608]
		2
		3
		4		Not specified	The French court [ci] [x]
		5
		6		Not specified	A road [cj]
		7		France	Agincourt [ck] - The French camp
	IV	Chorus	None	None	None
		1	France	France	Agincourt [ck] - The English camp
		2			Agincourt [ck] - The French camp
		3			Agincourt [ck] - The English camp
		4			Agincourt [ck] - The battlefield
		5
		6
		7
		8
	V	Chorus	None	None	None
		1	France	France	Not specified [cl]
		2			The French court [ci] [y] [367] [612]
	Epilogue		None	None	None
Henry VI Part 1	I	1	England	London(?) [bm]	The English court [bn] [n]
		2 [cm]	France	Orleans	Outside Orleans [613]
		3 [cm]
		4 [cm]	England	London	The Tower of London [614]
		5 [cm]	France	Orleans
		6 [cm]
		7 [cm]
		8 [cm]
	II	1
		2
		3
		4
		5
	III	1		London(?) [bm]	The English court [bn]
		2
		3
		4
		5
		6
		7
		8
	IV	1
		2
		3
		4
		5
		6
		7
	V	1		London(?) [bm]	The English court [bn]
		2
		3
		4		London(?) [bm]	The English court [bn] [o]
		5
		6
		7
Henry VI Part 2	I	1		London(?) [bm]	The English court [bn]
		2
		3		London(?) [bm]	The English court [bn]
		4
	II	1
		2
		3
		4
	III	1
		2
		3
	IV	1
		2
		3
		4		London(?) [bm]	The English court [bn]
		5
		6
		7
		8
		9
	V	1
		2
		3
		4
Henry VI Part 3	I	1		London(?) [bm]	The English court [bn] [p]
		2
		3
		4
	II	1
		2
		3
		4
		5
		6
	III	1
		2		London(?) [bm]	The English court [bn] [q]
		3
	IV	1		London(?) [bm]	The English court [bn]
		2
		3
		4
		5		London(?) [bm]	The English court [bn] [r]
		6
		7
		8
		9		London(?) [bm]	The English court [bn]
		10		London(?) [bm]	The English court [bn] [s]
	V	1
		2
		3
		4
		5
		6
		7		London(?) [bm]	The English court [bn]
Henry VIII	Prologue
	I	1		London(?) [bm]	The English court [bn] [u]
		2		London(?) [bm]	The English court [bn]
		3		London(?) [bm]	The English court [bn]
		4
	II	1
		2		London(?) [bm]	The English court [bn]
		3		London(?) [bm]	The English court [bn]
		4
	III	1
		2		London(?) [bm]	The English court [bn]
	IV	1
		2
	V	1		London(?) [bm]	The English court [bn]
		2		London(?) [bm]	The English court [bn]
		3		London(?) [bm]	The English court [bn]
		4		London(?) [bm]	The English court [bn] [v]
	Epilogue
Julius Caesar	I	1
		2
		3
	II	1
		2
		3
		4
	III	1
		2			[b]
		3
	IV	1
		2
	V	1
		2
		3
		4
		5
King John	I	1		London(?) [bm]	The English court [bn]
	II	1
		2
	III	1
		2
		3
		4
	IV	1
		2		London(?) [bm]	The English court [bn]
		3
	V	1		London(?) [bm]	The English court [bn]
		2
		3
		4
		5
		6
		7
King Lear [cn]	I	1
		2
		3
		4
		5
	II	1
		2
	III	1
		2
		3
		4
		5
		6
		7
	IV	1
		2
		3
		4
		5
		6
	V	1
		2
		3
Love's Labour's Lost	I	1
		2
	II	1
	III	1
	IV	1
		2
		3
	V	1
		2
Macbeth	I	1
		2
		3
		4
		5
		6
		7
	II	1
		2
		3
		4
	III	1
		2
		3
		4
		5
		6
	IV	1
		2
		3
	V	1
		2
		3
		4
		5
		6
		7
		8
		9
		10
		11
Measure for Measure	I	1
		2
		3
		4
	II	1
		2
		3
		4
	III	1
	IV	1
		2
		3
		4
		5
	V	1
The Merchant of Venice	I	1
		2
		3
	II	1
		2
		3
		4
		5
		6
		7
		8
		9
	III	1
		2
		3
		4
		5
	IV	1
		2
	V	1
The Merry Wives of Windsor	I	1
		2
		3
		4
	II	1
		2
		3
	III	1
		2
		3
		4
		5
	IV	1
		2
		3
		4
		5
		6
	V	1
		2
		3
		4
		5
A Midsummer Night's Dream	I	1
		2
	II	1
		2
	III	1
		2
		3
	IV	1
		2
	V	1
		2
	Epilogue
Much Ado About Nothing	I	1
		2
		3
	II	1
		2
		3
	III	1
		2
		3
		4
		5
	IV	1
		2
	V	1
		2
		3
		4
Othello	I	1
		2
		3
	II	1
		2
		3
	III	1
		2
		3
		4
	IV	1
		2
	V	1
		2
Pericles Prince of Tyre	N/A [co]	1
		2
		3
		4
		5
		6
		7
		8
		9
		10
		11
		12
		13
		14
		15
		16
		17
		18
		19
		20
		21
		22
Richard II	I	1		London(?) [bm]	The English court [bn] [l]
		2
		3
		4		London(?) [bm]	The English court [bn]
	II	1
		2		London(?) [bm]	The English court [bn]
		3
		4
	III	1
		2
		3
		4
	IV	1		London(?) [bm]	The English court [bn] [m]
	V	1
		2
		3		London(?) [bm]	The English court [bn]
		4
		5
		6		London(?) [bm]	The English court [bn]
Richard III	I	1		London(?) [bm]	The English court [bn]
		2
		3		London(?) [bm]	The English court [bn]
		4
	II	1		London(?) [bm]	The English court [bn]
		2		London(?) [bm]	The English court [bn]
		3
		4		London(?) [bm]	The English court [bn]
	III	1
		2
		3
		4
		5
		6
		7
	IV	1
		2		London(?) [bm]	The English court [bn]
		3		London(?) [bm]	The English court [bn]
		4		London(?) [bm]	The English court [bn]
		5
	V	1
		2
		3
		4
		5
		6
		7
Romeo and Juliet	Prologue-Chorus
	I	1
		2
		3
		4
		5
	II	Chorus
		1
		2
		3
		4
		5
	III	1
		2
		3
		4
		5
	IV	1
		2
		3
		4
	V	1
		2
		3
The Taming of the Shrew	Induction	1
		2
	I	1 1-246
		1 247-252
		2
	II	1
	III	1
		2
		3
	IV	1
		2
		3
		4
		5
		6
	V	1
		2
The Tempest	I	1
		2
	II	1
		2
	III	1
		2
		3
	IV	1
	V	1
	Epilogue
Timon of Athens	I	1
		2
	II	1
		2
	III	1
		2
		3
		4
		5
		6
		7
	IV	1
		2
		3
	V	1
		2
		3
		4
		5
Titus Andronicus	I	1
	II	1
		2
		3
		4
	III	1
		2
	IV	1
		2
		3
		4
	V	1
		2
		3
Troilus and Cressida	Prologue
	I	1
		2
		3
	II	1
		2
		3
	III	1
		2
		3
	IV	1
		2
		3
		4
		5
		6
		7
	V	1
		2
		3
		4
		5
		6
		7
		8
		9
		10
		11
Twelfth Night	I	1
		2
		3
		4
		5
	II	1
		2
		3
		4
		5
	III	1
		2
		3
		4
	IV	1
		2
		3
	V	1
The Two Gentlemen of Verona	I	1
		2
		3
	II	1
		2
		3
		4
		5
		6
		7
	III	1
	IV	1
		2
		3
		4
	V	1
		2
		3
		4
The Two Noble Kinsmen	Prologue
	I	1
		2
		3
		4
		5
	II	1
		2
		3
		4
		5
		6
	III	1
		2
		3
		4
		5
		6
	IV	1
		2
		3
	V	1
		2
		3
		4
		5
		6
	Epilogue
The Winter's Tale	I	1
		2
	II	1
		2
		3
	III	1
		2
		3
	IV	1
		2
		3
		4
	V	1
		2
		3

References

Notes

1. Throughout this page "Shakespeare" is used as a shorthand for "the author(s) of the play(s)" even though many plays listed are colloborations. See William Shakespeare's collaborations.
2. Most editors have followed Nicholas Rowe in 1709 in placing the "Friends, Romans, countrymen..." scene of Julius Caesar at "the Forum". ^[2] Shakespeare's text refers to "the market-place". ^{[3] [4]}
3. There has been critical debate about whether the closing scene of Coriolanus is set at Antium, which is its location in Shakespeare's source: North's translation of Plutarch's Parallel Lives. The only lines placing it there, indirectly, are the references to Aufidius' "native town" ^[532] and to "the Antiates". ^[533] Other lines may be taken to place the scene at Corioli: Aufidius says "Dost thou think I'll grace thee with that robbery, they stol'n name, 'Coriolanus', in Corioles?". Singer located the scene at Corioli. Peter Holland summarises the debate: "All that really matters to Shakespeare (and to audiences, who never notice a problem) is that it is set in Volscian territory." ^[534]
4. See Henry VI, Part 1 act 4 scenes 3 & 4.
5. Iden describes himself as "A poor esquire of Kent" ^[111]
6. Historically, according to Shakespeare's source Holinshed, these events occurred at Conwy. ^[232]
7. Historically, on returning from Ireland, Richard instead landed at Milford Haven. ^[233]
8. Shakepeare's source, Holinshed, places the meeting of Glendower and the other rebels at the home of the Archdeacon of Bangor. ^[236]
9. This scene, between a Roman soldier and a Volsce soldier, may occur on the road between Rome and Antium, as suggested by Malone. Rowe set it at Antium. ^[521]
10. Historically, according to Shakespeare's source (Hall) Edward and Warwick met at Chipping Norton. ^[283]
11. Historically, the apparition of the three suns was supposedly seen at the Battle of Mortimer's Cross, which is not otherwise dramatized by Shakespeare. ^[284]
12. Historically the events depicted in the opening scene of Richard II happened at Windsor Castle, where Mowbray was being held. ^{[334] [335]}
13. Historically, the events depicted in the "deposition scene" of Richard II happened at Westminster Hall. ^{[329] [331]} Richard's appearance in the scene is unhistorical. ^[336]
14. Historically, the funeral of Henry V, which forms part of the action of the opening scene of Henry VI, Part 1, happened at Westminster Abbey, although the events recounted in the scene actually happened over a number of years. ^{[341] [342] [343] [344]}
15. The peace negotiations and proposals for Henry's marriage to the daughter of the Earl of Armangac, and later to Margaret, happened historically at Arras and Tours (both in France) some nine years apart. ^[346]
16. The opening scene of Henry VI, Part 3 is set at the English Parliament which met at Westminster Palace. ^[348]
17. According to Shakespeare's source (Hall) Edward and Elizabeth met at Grafton Manor. ^[349]
18. Queen Elizabeth took sanctuary at Westminster Abbey, although the text does not refer to it. ^{[350] [351]}
19. In history, the "palace" referred to at 4.10.1 is that of the Bishop of London. ^[352]
20. In this case the scene numbers are taken from the Oxford Complete Works 2nd Edition (which is the source for all references to Shakespeare's works on this page). In Cox & Rasmussen 2001, act 4 scene 5 is scene 4, and scenes 9 & 10 are one scene numbered 8.
21. The Field of the Cloth of Gold (which took place between Ardres and Guisnes in France) is described in detail in the opening scene of Henry VIII but is not itself a setting of it. ^{[355] [356]}
22. The events of the closing scene of Henry VIII, which dramatizes the christening of Elizabeth I, probably happened historically at Greenwich Palace. ^[357]
23. Scenes which are not otherwise listed on this page, because they happen at the English court without Shakespeare's text specifying its location, include:
    King John: Act 1 scene 1, act 4 scene 2 and act 5 scene 1; ^[333]
    Richard II: Act 1 scenes 1 ^[l] & 4, act 2 scene 2, act 4 scene 1, ^[m] and act 5 scenes 3, 4 & 6; ^{[337] [338]}
    Henry IV Part 1: Act 1 scene 1, act 1 scene 3, and act 3 scene 2; ^[339]
    Henry V: Act 1 scenes 1 & 2; ^[340]
    Henry VI Part 1: Act 1 scene 1, ^[n] act 3 scene 1, and act 5 scenes 1 & 4; ^{[345] [o]}
    Henry VI Part 2: Act 1 scenes 1 & 3, and act 4 scene 4; ^[347]
    Henry VI Part 3: Act 1 scene 1, ^[p] act 3 scene 2, ^[q] act 4, scenes 1, 5, ^[r] 9 & 10, ^{[s] [t]} and act 5 scene 7; ^{[353] [351]}
    Richard III: Act 1 scenes 1 & 3, act 2 scenes 1, 2 & 4, act 4 scenes 2, 3 & 4; ^[354]
    Henry VIII: Act 1 scenes 1, ^[u] 2 & 3, act 2 scenes 2 & 3, act 3 scene 2, and act 5 scenes 1, 2, 3 and 4. ^{[v] [358]}
24. Act 3 scene 4 is unhistorical. ^[363] Act 3 scene 5 contains the line "Prince Dauphin, you shall stay with us in Rouen" ^[364] which is also the location of the scene according to Holinshed. ^{[365] [366]}
25. Historically, the peace was settled at Troyes in France, around five years after the Battle of Agincourt. ^{[367] [325] [368]}
26. Scenes which are not otherwise listed on this page, because they happen at the French court without Shakespeare's text specifying its location, include:
    Henry V: Act 2 scene 4, act 3 scenes 4 & 5; ^[x] and act 5 scene 2; ^{[367] [y]}
    Henry VI Part 3: Act 3 scene 3. ^[369]
27. The footnotes to the table do not cover differences in the treatment of act and scene divisions generally, but usually do mention those cases where the act and scene divisions are different between the Oxford and another edition used to source information about the play in the table.
28. In the table, act and scene divisions are taken from "The Oxford Shakespeare: The Complete Works" Second Edition (i.e. Jowett, Montgomery, Taylor & Wells 2005). These do not always accord with the division of acts and scenes in the other sources used on this page. ^[435]
29. Although Shakespeare's text does not specify it, historically Pompey's court was located on Sicily in present-day Italy. ^[397]
30. Although the location is not specified by Shakespeare, according to Shakespeare's source (North's translation of Plutarch's Lives) Pompey's Galley was moored near the Mount of Misena, in modern-day Italy. ^[402]
31. This scene occurs at Parthia's border with the Roman Empire. The sources cited suggest several modern nations that might be the location of it.
32. The scenes set in Actium, depicting the Battle of Actium, which was a sea battle, take place entirely on shore: showing the preparation, the battle as witnessed by spectators, and its aftermath. ^[473]
33. Plutarch, Shakespeare's source, located the events dramatized in this scene at Taenarum, in Greece. ^[474]
34. This is the only scene treated differently in the Oxford Complete Works (which is the source for act and scene numbers in this table) and John Wilders' Arden edition of Antony and Cleopatra (which is the main source for most other information about the play on this page). In Oxford this is a short separate scene of only three lines long: in Wilders those are the opening lines of the following scene. Accordingly, scenes 7 and 8 in Oxford are scene 7 in Wilders, and scenes 9 to 16 in Oxford, and in this table, are scenes 8 to 15 in Wilders.
35. John Wilders observes that the scene appears to begin on a hill where Antony can witness the sea battle, but to continue inside Alexandria, where Cleopatra joins him. ^[485]
36. Theobald envisaged the opening scene of The Comedy of Errors taking place in a formal chamber of the Duke's palace. Capell imagined it being in a public place. ^[495]
37. Dyce located this scene at the Mart. ^[498]
38. The Arden edition of The Comedy of Errors places these two scenes "presumably" at the mart. ^[502]
39. Pope placed the opening scene of Coriolanus on "a street in Rome", and it must be an outdoor public place. ^[504]
40. For consistency, this table calls the title character "Coriolanus" even in the early scenes before he attains that title
41. In the Oxford Complete Works (which is the source for act and scene numbers in this table) scenes 4 and 5 are separate scenes. In Peter Holland's 3rd series Arden edition (which is the source for most other information about Coriolanus on this page) they are one scene. Accordingly scenes 6 to 11 in Oxford (and in this table) are scenes 5 to 10 in Arden. ^{[508] [509]}
42. Some editors including Capell place this scene inside Corioli, although it could equally be outside the walls. ^[510]
43. Pope set this scene at the Volscian camp, but it only needs to be somewhere outside the city. ^[512]
44. Capell described the setting as "a public place". ^[513]
45. Peter Holland, referring to Shakespeare's plays set in Ancient Rome, says: "Shakespeare appears to have assumed that the Capitol was the seat of the Senate but it was properly, to be pedantic, the temple of Jupiter on the Capitoline Hill while the Senate met near the Forum." ^{[305] [306]}
46. Rowe placed this scene at "A publick street in Rome" ^[516]
47. "Presumably", according to Peter Holland. ^[517]
48. Coriolanus' farewell to Rome has been thought to happen at the gates (Pope) or outside the walls (Rowe). ^[519]
49. This scene must occur in a street or other outdoor public place ^[520]
50. This scene occurs in an outdoor public place ^[525]
51. This scene occurs in an outdoor public place ^[527]
52. Peter Holland says the scene is "effectively continuous with 5.2" although Capell's location of the scene at Coriolanus' tent has been influential upon paintings of the scene, and theatrical staging. ^[529]
53. This scene occurs in an outdoor public place ^[530]
54. The very short Scene 5 may be continuous with scene 4. Dyce was the first editor to make the procession of the ladies' returning to Rome a separate scene, and located it "near the gate". ^[531]
55. The location of Cymbeline's court, other than being in Britain in the Roman era, is not otherwise specified by Shakespeare. The historical Cymbeline ruled the Catuvellauni tribe, and his seat of government was in Camulodunum which is modern-day Colchester. ^[536]
56. All scenes in Wales in Cymbeline appear to be in the vicinity of Milford Haven, although there is no scene set specifically in the town.
57. This is an external scene, so set somewhere in the countryside. ^[542]
58. A public place in Rome. Valerie Wayne argues that this is the only scene of Cymbeline set in ancient Rome: the other Roman scenes in the play being set, anachronistically, in Renaissance Italy. ^[545]
59. Valerie Wayne's Arden edition of Cymbeline (which is the source of most information about the play in this article) has one scene, act 5 Scene 2, which the Oxford Complete Works (which is the source for all act and scene numbers in this table) presents as three separate scenes: act 5 scenes 2, 3 and 4. Conversely, the Arden has two scenes, act 5 scenes 3 and 4 which the Oxford presents as one: act 5 scene 5. Following those, Arden's scene 5 matches Oxford's scene 6 and is the play's final scene.
60. Valerie Wayne argues that the action is continuous and that these two episodes comprise one scene. The jailer, as was common in early modern warfare, would be holding Posthumus prisoner, shackled, on the field of battle itself. ^[552]
61. The play-within-a-play The Murder of Gonzago, also known as The Mousetrap, is set in Vienna in present-day Austria. ^{[561] [130] [226]}
62. A "closet" (as distinct from a "chamber") signifies a private living room, not a bedroom. ^[563]
63. The action of act 4 scene 1 of Hamlet appears continuous with act 3 scene 4, and has led scholars to doubt whether they should be designated as separate scenes: although Claudius' reference to "his mother's closet" ^[565] suggests that the action may no longer be set there. ^[564]
64. This scene may take place at the palace or at Horatio's lodgings. ^[569]
65. Where Shakespeare sets a scene at the English Court without specifying the location, this table places it at "London(?)" since most possible sites were in London: although the location of Richmond Palace was not in London at the time, and Windsor Castle never has been. See "English Court" under more-specific settings.
66. See "English Court" under more-specific settings.
67. Editors have placed this scene at a tavern, at the prince's home, or at the royal palace. ^[572]
68. Some editors have located act 1 scene 3 of Henry IV, Part 1 at Windsor, on the evidence of 1.1.102-3: "On Wednesday next our council we will hold at Windsor." ^[573]
69. The Oxford Complete Works (which is the source for act and scene divisions in this table) divides the Gad's Hill episode into two scenes (act 2 scenes 2 and 3) while the Arden edition (which is the source for most other information about the play) treats it as one (scene 2). Accordingly scenes 4 and 5 in Oxford, and in this table, are scenes 3 and 4 in the Arden.
70. Gad's Hill - a notorious spot for highway robbery at the time the play is set, is now part of Higham, in Kent, England. ^{[372] [374]}
71. Historically, Hotspur's home was at Warkworth Castle in Northumberland, England. ^[254]
72. The Tavern scenes in Eastcheap are often said to occur at The Boar's Head, after a real tavern which used to be situated there. However that name is never used by Shakespeare. ^[574]
73. Although Shakespeare gives no location for this court scene, his source, Holinshed, places it at Westminster. ^[575]
74. There is no historical basis for the scene of a meeting between the Archbishop of York and Sir Michael, who has not been identified with any historical figure. The scene may be set at the palace of the Archbishop of York. ^[579]
75. The whole of act 5 is set in the vicinity of Shrewsbury, and dramatizes the Battle of Shrewsbury ^[580]
76. The closing scene of Henry IV, Part 1 takes place at the battlefield or at the King's camp nearby to it ^[583]
77. The Induction of Henry IV Part 2 introduces "this worm-eaten hole of ragged stone" which is the Earl of Northumberland's home.
78. Historically, the Earl of Northumberland's home was at Warkworth Castle. ^[255]
79. The scene is a public street, usually thought to be in Eastcheap, where Mistress Quickly's tavern is located. ^[585]
80. This scene among the rebels is unhistorical and is given no particular location by Shakespeare. Its location is hinted at by Holinshed as being at the palace of the Archbishop of York. ^{[586] [587]}
81. The scene is a public street in Eastcheap, where Mistress Quickly's tavern is located. ^[588]
82. This scene has no location. It must be private enough for Hal and Poins to have a private conversation yet public enough to spot the approach of Bardolph. Editors have often set it at the Prince's lodgings in London. ^{[589] [590]}
83. No particular town or city is specified for the scenes in Gloucestershire in Henry IV, Part 2 ^[595]
84. Inconsistently, the Jerusalem Chamber, where the king collapses and later dies, is in fact in Westminster Abbey. ^{[332] [598]}
85. The final scene of Henry IV, Part 2 is unhistorical, and is set in the street where the coronation procession of Henry V passes by. ^[282]
86. Gary Taylor comments that act 2 scenes 1 and 3 of Henry V "are often called the Eastcheap scenes, from the location of the tavern in 1 Henry IV: in fact both seem to be unlocalized street scenes."
87. See "French Court" under more-specific settings.
88. Henry's army is on the march from Harfleur towards Calais. The bridge which is referred to often in this scene, but is not the setting of it, was, historically, across the river Ternoise at Blangy. ^[102]
89. Henry V dramatizes the Battle of Agincourt. ^{[609] [610]}
90. This scene occurs in France in the aftermath of the battle at Agincourt. ^[611]
91. The Oxford Complete Works, the source for act and scene numbers in this table, does not match Edward Burns' Arden edition, the source for most other information about the play in this table, in the first act of Henry VI, Part 1. They correlate as follows (Arden in bold, Oxford (and this table) in plain text):
    Scene 1: Scene 1
    Scene 2: Scenes 2 & 3
    Scene 3: Scene 4
    Scene 4: Scenes 5 & 6
    Scene 5: Scenes 7 & 8.
92. In the case of King Lear, there are two versions of the play in The Oxford Shakespeare second edition. The act and scene divisons in this article are taken from "The Tragedy of King Lear: The Folio Text (1610)" at Jowett et. al. (2005) pp. 1153-1184.
93. In the Oxford Shakespeare Complete Works (2nd edition), which is the source for all act and scene numbers in the table, there are no act divisions for Pericles. This does not accord with Suzanne Gossett's Arden Shakespeare (third series) edition, which is the source for most information about Pericles on this page, and which does have act divisions. The two correlate as follows (Arden in bold, Oxford in plain text):
    Act 1 Chorus: Scene 1 Lines 1-42
    Act 1 Scene 1: Scene 1 Lines 43-213
    Act 1 Scene 2: Scene 2
    Act 1 Scene 3: Scene 3
    Act 1 Scene 4: Scene 4
    Act 2 Chorus: Scene 5 Lines 1-40
    Act 2 Scene 1: Scene 5 Lines 41-209
    Act 2 Scene 2: Scene 6
    Act 2 Scene 3: Scene 7
    Act 2 Scene 4: Scene 8
    (Not included): Scene 8a
    Act 2 Scene 5: Scene 9
    Act 3 Chorus: Scene 10
    Act 3 Scene 1: Scene 11
    Act 3 Scene 2: Scene 12
    Act 3 Scene 3: Scene 13
    Act 3 Scene 4: Scene 14
    Act 4 Chorus: Scene 15 Lines 1-52
    Act 4 Scene 1: Scene 15 Lines 53-151
    Act 4 Scene 2: Scene 16
    Act 4 Scene 3: Scene 17
    Act 4 Scene 4 (Chorus): Scene 18
    Act 4 Scene 5: Scene 19
    Act 5 Chorus: Scene 20
    Act 5 Scene 1: Scene 21
    Act 5 Scene 2 (Chorus): Scene 22 Lines 1-20
    Act 5 Scene 3: Scene 22 Lines 21-107
    Epilogue: Scene 22 Lines 108-125. ^{[615] [616]}

Footnotes

References to works by Shakespeare are to The Oxford Shakespeare: The Complete Works Second Edition (i.e. Jowett, Montgomery, Taylor & Wells 2005). Under its numbering system Hamlet 3.1.58 means act 3, scene 1, line 58. In plays which it presents without act divisions, such as Pericles, 1.17 means scene 1 line 17. In the case of King Lear, which the Oxford Complete Works presents in two separate versions, references are to "The Tragedy of King Lear" (the folio version) at pp.1153-1184. In Henry V, 0 in place of a scene number means the chorus to that act. "SD" references a stage direction. An "n" after a page number indicates a note on that page rather than its body text.

1. Julius Caesar 3.2.74.
2. Daniel 1998, pp. 252n, 374. sfn error: no target: CITEREFDaniel1998 (help)
3. Julius Caesar 3.1.230
4. Julius Caesar 3.1.294-295.
5. Antony and Cleopatra 3.7.50-52.
6. Wilders 1995, pp. 193n, 199n, 200n.
7. Bevington 2005, pp. 179n, 184n, 185n.
8. Antony and Cleopatra 3.13.171-172.
9. Wilders 1995, pp. 90n, 95n, 106n, 119n, 146n, 179n, 185n, 208n, 211n, 225n, 226n, 230n, 232n, 235n, 237n, 240n, 241n, 245n, 247n, 248n, 252n, 54n, 263n, 270n, 275n.
10. Bevington 2005, p. 188n.
11. King John 2.1.1.
12. Honigmann 1954, pp. 21SD, 54SD, 59SD, 74SD, 79SD.
13. Lander & Tobin 2018, pp. 8–9, 164SD, 164n, 208n.
14. Pericles 1.17-19.
15. Whitfield 2015, p. 22.
16. Gossett 2004, p. 171n.
17. Coriolanus 4.4.1-2.
18. Holland 2013, pp. 328n, 330n, 399n.
19. Antony and Cleopatra 3.1.34-35.
20. Antony and Cleopatra 3.6.64.
21. Wilders 1995, p. 182n.
22. Bevington 2005, p. 170n.
23. A Midsummer Night's Dream 1.1.11-12.
24. A Midsummer Night's Dream 1.1.160-163.
25. Bartels 2003, p. 152.
26. Whitfield 2015, pp. 30, 34.
27. Timon of Athens 2.2.17-18.
28. Whitfield 2015, p. 30.
29. Dawson & Minton 2008, pp. 159n, 264n, 271n.
30. The Two Noble Kinsmen 221-222.
31. Potter 1997, p. 139n.
32. Henry VI, Part 3 113-114.
33. Cox & Rasmussen 2001, p. 343n.
34. The Merchant of Venice 1.1.161.
35. The Merchant of Venice 3.4.84-85.
36. Bartels 2003, pp. 154–155.
37. Drakakis 2010, pp. 188n, 222n, 272n, 289n, 319n, 325n, 367n.
38. The Winter's Tale 3.3.1-2.
39. Whitfield 2015, pp. 94–96.
40. Pitcher 2010, pp. 100–102, 235n, 247n, 249n, 259n.
41. Henry VI, Part 1 4.2.1.
42. Burns 2000, pp. 232n–233n.
43. Whitfield 2015, p. 169.
44. Richard III 5.3.1
45. Siemon 2009, pp. 379n, 381n, 411n, 412n.
46. Whitfield 2015, p. 174.
47. Cymbeline 3.1.12-14.
48. Wayne 2017, pp. 145n, 159n, 161n, 174n, 179n, 195n, 199n, 204n, 231n, 237n, 263n, 313n.
49. Whitfield 2015, p. 135.
50. King Lear 4.3.21.
51. Whitfield 2015, p. 133.
52. Coriolanus 1.2.27.
53. Coriolanus 115-117.
54. Holland 2013, pp. 145-146n, 174n, 185n, 193n, 196n, 202n, 205n, 212n.
55. Whitfield 2015, pp. 50–51.
56. Richard II 198-199.
57. Forker 2002, p. 207n.
58. Henry IV, Part 1 4.2.13.
59. Henry IV, Part 1 4.2.1.
60. Henry IV, Part 1 4.2.38-39.
61. Kastan 2002, p. 288n.
62. Henry VI, Part 3 4.10.32.
63. Cox & Rasmussen 2001, p. 333n-334n.
64. Othello 2.1.213.
65. Whitfield 2015, p. 56.
66. Thompson & Honigmann 2016, pp. 12, 21–22, 165n, 186n.
67. King Lear 3.6.48-50.
68. King Lear 4.1.54.
69. Foakes 1997, pp. 317n, 321n, 326n, 357n.
70. Hamlet 1.2.173.
71. Whitfield 2015, p. 119.
72. Berry 2016, pp. 1–2.
73. Thompson & Taylor 2006, pp. 147n, 227n, 366n, 409n.
74. The Taming of the Shrew Induction.2.16-17.
75. The Taming of the Shrew Induction.2.20
76. Hodgdon 2010, pp. 2, 139n, 150n.
77. Macbeth 4.3.44-45.
78. Muir 1984, p. 122.
79. Brooke 1990, p. 72.
80. Henry VI, Part 3 2.5.128.
81. Henry VI, Part 3 3.1.13-14.
82. Cox & Rasmussen 2001, p. 261n.
83. Henry VI, Part 3 4.2.0SD
84. Cox & Rasmussen 2001, pp. 305n, 307n.
85. The Comedy of Errors 1.1.28-30.
86. Berry 2016, pp. 41–42.
87. Cartwright 2017, pp. 49–51.
88. Pericles 5.1.227.
89. Gossett 2004, pp. 289n, 307n, 396n.
90. Macbeth 2.4.36-37.
91. Muir 1984, p. 117.
92. All's Well That Ends Well 3.2.68-69.
93. All's Well That Ends Well 5.3.125-128.
94. Whitfield 2015, p. 116.
95. Macbeth 1.3.37.
96. Muir 1984, pp. 22, 72, 80, 86.
97. As You Like It 1.1.133-134.
98. Oliver 1968, p. 11.
99. Whitfield 2015, pp. 113–114.
100. Dusinberre 2006, p. 48.
101. Henry V 3.0.22-24.
102. Craik 1995, p. 231n.
103. Taylor 1982, p. 146n.
104. Henry V 3.0.26-27.
105. Craik 1995, pp. 201n, 215n.
106. Twelfth Night 1.2.1.
107. Whitfield 2015, pp. 98–99.
108. Macbeth 1.4.41-42.
109. Muir 1984, pp. 26, 33, 36, 45, 51, 58.
110. Cartwright 2017, p. 56.
111. Henry VI, Part 2 5.1.75.
112. Knowles 1999, pp. 283n, 296n, 311n, 317n, 318n, 335n.
113. Romeo and Juliet 3.3.166-168.
114. Romeo and Juliet 5.1.66-67.
115. Levenson 2000, p. 173n.
116. All's Well That Ends Well 4.4.8-10.
117. All's Well That Ends Well 4.5.80.
118. Gossett & Wilcox 2019, p. 290n.
119. Much Ado About Nothing 1.1.1-2.
120. Whitfield 2015, p. 91.
121. The Two Gentlemen of Verona 2.5.1.
122. Whitfield 2015, p. 104-105.
123. Evans 1964, pp. 58, 67, 75, 77, 82, 95, 102, 107, 109, 116, 117.
124. Cymbeline 3.2.48-49.
125. Wayne 2017, pp. 243n, 250n, 272n, 280n, 282n, 316n, 319n, 322n, 324n, 332n, 347n.
126. Pericles 18.44-45.
127. Whitfield 2015, pp. 22, 23.
128. Gossett 2004, pp. 129, 323n, 346n.
129. Love's Labour's Lost 2.1.90.
130. Whitfield 2015, p. 109.
131. Kerrigan & Walton 2005, p. xxiv.
132. Henry VI, Part 1 1.2.6.
133. Hattaway 1990, p. 75.
134. Henry VI, Part 1 1.5.1
135. Burns 2000, pp. 13, 149n, 162n–163n, 168n–169n.
136. The Taming of the Shrew 1.1.1-3.
137. The Taming of the Shrew 1.2.74.
138. Whitfield 2015, p. 103.
139. Hodgdon 2010, p. 159n.
140. All's Well That Ends Well 1.2.22.
141. Whitfield 2015, p. 115.
142. Henry VI, Part 1 4.1.3.
143. Burns 2000, p. 222n.
144. Antony and Cleopatra 3.1.6-7.
145. Wilders 1995, p. 171n.
146. Bevington 2005, p. 162n.
147. Pericles 5.138-141.
148. Whitfield 2015, pp. 22–23.
149. Gossett 2004, pp. 129, 222n.
150. Julius Caesar 4.2.334-337.
151. Julius Caesar 5.1.5-6.
152. Daniell 1998, pp. 155n, 298n, 306n, 307n, 314n, 316n.
153. Whitfield 2015, p. 50.
154. Henry IV, Part 1 127-128.
155. Kastan 2002, p. 183n.
156. Antony and Cleopatra 1.2.173-175.
157. Wilders 1995, pp. 113n, 128n, 142n, 145n, 174n, 186n.
158. Coriolanus 2.1.42-44.
159. Holland 2013, pp. 149n, 177n, 215n, 236n, 267n, 295n, 307n, 318n, 348n, 360n, 364n, 377n, 394n.
160. Cymbeline 1.1.98-99.
161. Cymbeline 3.7.0.SD.
162. Wayne 2017, pp. 164n, 215n, 279n.
163. Pitcher 2005, pp. 174n–175n.
164. Julius Caesar 1.2.157-158.
165. Julius Caesar 3.2.74.
166. Daniell 1998, p. 155n.
167. Titus Andronicus 1.1.70.
168. Whitfield 2015, p. 45.
169. Bate 2018, pp. 231n, 167n, 284n.
170. Henry VI, Part 1 3.2.1.
171. Burns 2000, p. 205n.
172. Norwich 1999, p. 225-226.
173. All's Well That Ends Well 1.2.18-19.
174. All's Well That Ends Well 5.1.29-30.
175. Gossett & Wilcox 2019, pp. 123n, 301n.
176. Richard III 4.4.468-469.
177. Siemon 2009, p. 377n.
178. Whitfield 2015, p. 173.
179. Julius Caesar 4.2.28.
180. Daniell 1998, pp. 155n, 274n, 277n.
181. Macbeth 1.2.28.
182. Muir 1984, p. 2.
183. Whitfield 2015, pp. 137–141.
184. Henry IV, Part 1 4.4.10-13.
185. Henry IV, Part 2 1.1.11-12.
186. Kastan 2002, pp. 280n, 294n, 303n, 312n, 319n, 324n, 335n.
187. Whitfield 2015, pp. 162–163.
188. The Winter's Tale 4.4.508-513.
189. Pitcher 2010, pp. 99–100, 145n, 219n, 310n, 327n, 337n.
190. Henry V 2.0.34-35.
191. Craik 1995, p. 167n.
192. Taylor 1982, p. 130n.
193. Henry VI, Part 2 1.2.56-57.
194. Henry VI, Part 2 5.5.35.
195. Knowles 1999, pp. 195n, 231n, 255n, 281n, 355n, 362n.
196. Whitfield 2015, p. 170.
197. King John 5.4.16-18.
198. Honigmann 1954, pp. 123SD, 123n.
199. Pericles 4.21.
200. Gossett 2004, p. 208n.
201. Henry VI, Part 3 5.3.18-19.
202. Cox & Rasmussen 2001, pp. 348n, 352n.
203. Whitfield 2015, pp. 172–173.
204. The Two Noble Kinsmen 1.2.3-5.
205. Potter 1997, p. 158n.
206. Troilus and Cressida Prologue.1.
207. Whitfield 2015, p. 19.
208. Bevington 2015, p. 359n.
209. Pericles 3.1.
210. Gossett 2004, pp. 194n, 204n.
211. The Merchant of Venice 1.1.114-115.
212. Whitfield 2015, pp. 59–62.
213. Drakakis 2010, pp. 169n, 201n, 227n, 244n, 246n, 250n, 255n, 268n, 280n, 316n, 331n.
214. Othello 1.1.107.
215. Berry 2016, pp. 51, 55–57.
216. Thompson & Honigmann 2016, pp. 119n, 132n, 139n.
217. Romeo and Juliet Prologue.2
218. Levenson 2000, p. 141n.
219. The Taming of the Shrew 1.2.1-2.
220. Whitfield 2015, p. 101.
221. The Two Gentlemen of Verona Title.
222. Whitfield 2015, pp. 104–105.
223. Evans 1964, pp. 43, 49, 54, 64, 65, 79.
224. Sanders & Jackson 2005, p. xxxiv.
225. Hamlet 3.2.226-227.
226. Thompson & Taylor 2006, pp. 313n, 314.
227. Measure for Measure 1.1.44-45.
228. Braunmuller & Watson 2020, p. 122.
229. Whitfield 2015, p. 107.
230. Henry VI, Part 3 2.1.107-108.
231. Cox & Rasmussen 2001, pp. 208n, 211n.
232. Forker 2002, p. 306n.
233. Forker 2002, p. 315n.
234. Richard II 3.2.1.
235. Forker 2002, p. 314n-315n.
236. Kastan 2002, p. 239n.
237. Henry IV, Part 1 4.3.95-98.
238. The Merry Wives of Windsor 2.1.61-62.
239. The Merry Wives of Windsor 2.2.96-99.
240. Berry 2016, pp. 68, 69.
241. Melchiori 2000, pp. 9–10, 124n.
242. Henry VI, Part 3 2.2.1.
243. Cox & Rasmussen 2001, p. 232n.
244. Cox & Rasmussen 2001, pp. 232n, 243n, 246n, 247n, 254n.
245. Whitfield 2015, p. 171.
246. Henry VI, Part 3 4.8.7-8.
247. Cox & Rasmussen 2001, p. 323n.
248. Burns 2000, pp. 23–24, 262n.
249. Norwich 1999, p. 225.
250. Honigmann 1954, pp. 89SD, 89n, 109SD.
251. Lander & Tobin 2018, p. 13.
252. Saccio 2000, pp. 193–194.
253. Henry IV, Part 2 Induction.35.
254. Kastan 2002, p. 198n.
255. Bulman 2016, pp. 165n, 243n.
256. Henry VI, Part 3 1.2.50.
257. Cox & Rasmussen 2001, p. 203n.
258. A Midsummer Night's Dream 1.2.94-95.
259. Dawson & Minton 2008, pp. 271n, 310n, 320n, 331n.
260. The Two Noble Kinsmen 2.3.53.
261. The Two Noble Kinsmen 2.6.3-4.
262. Potter 1997, p. 4.
263. Evans 1964, pp. 99, 119, 120.
264. Sanders & Jackson 2005, pp. xxix–xxx.
265. Bate 2018, p. 209n.
266. Burns 2000, p. 110n, 187n.
267. Hamlet 5.1.180.
268. Hamlet 5.1.65-66.
269. Berry 2016, p. 2.
270. Thompson & Taylor 2006, p. 409n.
271. The Tempest 1.2.171-172.
272. The Tempest 1.2.333-334.
273. Vaughan & Vaughan 2011, p. 171n.
274. Henry VI, Part 3 4.5.11.
275. Henry VI, Part 3 4.6.2-3.
276. Cairncross 1964, p. 105SD.
277. Cox & Rasmussen 2001, p. 314n.
278. The Taming of the Shrew 4.6.2
279. Heilman 1986, p. 133.
280. Richard II 5.1.1-2.
281. Forker 2002, p. 415n.
282. Bulman 2016, p. 417n.
283. Cox & Rasmussen 2001, p. 221n.
284. Saccio 2000, p. 139.
285. McMullan 2000, pp. 266n, 362n.
286. Gossett 2004, pp. 218n, 271n, 276, 341n, 367n.
287. Vaughan & Vaughan 2011, pp. 165n, 171n.
288. Henry V 4.7.86-88.
289. Whitfield 2015, pp. 164–165.
290. Henry VI, Part 1 2.2.38-40.
291. Burns 2000, pp. 61–62.
292. Richard III 3.5.96-98.
293. Siemon 2009, p. 294n.
294. Richard II 2.3.1 & 2.3.159-160.
295. Forker 2002, p. 291n.
296. Macbeth 4.1.108-110.
297. Macbeth 5.2.5-6.
298. Macbeth 5.4.3.
299. Brooke 1990, p. 5.
300. Henry VIII 2.2.138-139.
301. McMullan 2000, pp. 298n, 316n.
302. Saccio 2000, p. 221.
303. Richard II 2.3.162-164.
304. Forker 2002, p. 309n.
305. Holland 2013, p. 236n.
306. Daniell 1998, p. 232n.
307. Coriolanus 2.1.265.
308. Julius Caesar 1.3.36-37.
309. Julius Caesar 3.1.11-12.
310. Daniell 1998, pp. 231n, 232n.
311. Antony and Cleopatra 4.14.3-4.
312. Antony and Cleopatra 4.14.6-7.
313. Wilders 1995, pp. 263n, 275n, .
314. Bevington 2005, pp. 237n, 248n.
315. Pericles 5.1.227.
316. Gossett 2004, p. 396n.
317. Macbeth 5.2.11-12.
318. Muir 1984, pp. 137, 144, 151.
319. Henry IV, Part 1 1.2.155.
320. Henry IV, Part 2 2.2.137-139.
321. Kastan 2002, pp. 205n, 267n.
322. Bulman 2016, pp. 220n, 183n, 213n, 248n, 413n.
323. Craik 1995, p. 156n.
324. Taylor 1982, p. 120n.
325. Gurr 2005, p. 9.
326. Richard II 2.1.40.
327. Richard II 1.4.56-57.
328. Richard II 2.1.216-217.
329. Whitfield 2015, p. 161.
330. Whitfield 2015, p. 151.
331. Forker 2002, p. 372n.
332. Bulman 2016, p. 358n.
333. Honigmann 1954, pp. 3SD, 96SD, 119SD.
334. Forker 2002, p. 179n.
335. Ure 1961, pp. 3n–4n.
336. Saccio 2000, p. 32.
337. Ure 1961, pp. 3SD, 3n–4n, 39SD, 69SD, 124SD, 124n–125n, 159SD, 167SD, 177SD.
338. Forker 2002, pp. 179n, 274n, 372n, 442n–443n, 476n.
339. Kastan 2002, pp. 140n, 163n, 257n.
340. Taylor 1982, p. 94n.
341. Burns 2000, p. 115n, 120n.
342. Norwich 1999, pp. 201–203.
343. Hattaway 1990, p. 15.
344. Saccio 2000, pp. 105–106.
345. Burns 2000, pp. 115n, 194n.
346. Hattaway 1990, pp. 162n, 181n.
347. Knowles 1999, pp. 149n, 173n, 312n.
348. Cox & Rasmussen 2001, p. 185n.
349. Cox & Rasmussen 2001, p. 267n.
350. Cox & Rasmussen 2001, p. 312n.
351. Cairncross 1964, p. 103SD.
352. Cox & Rasmussen 2001, p. 329n.
353. Cox & Rasmussen 2001, p. 185n, 267n, 296n, 312n, 329n, 365n.
354. Siemon 2009, pp. 133n, 168n, 214n, 224n, 239n, 317n, 328n, 333n.
355. McMullan 2000, p. 212n.
356. Saccio 2000, pp. 212–213.
357. Whitfield 2015, p. 181.
358. McMullan 2000, pp. 212n, 231n, 248n, 279n, 289n, 329n, 388n, 402n, 419n, 427n.
359. Richard II 3.2.205.
360. Berry 2016, p. 36.
361. Forker 2002, p. 336n.
362. As You Like It 1.1.109-110.
363. Gurr 2005, pp. 29–30.
364. Henry V 3.5.64.
365. Craik 1995, p. 225n.
366. Norwich 1999, p. 212.
367. Craik 1995, pp. 344n–345n.
368. Norwich 1999, pp. 199, 216.
369. Cox & Rasmussen 2001, p. 280n.
370. Henry IV, Part 1 1.2.123-126.
371. Henry VI, Part 2 1.2.149-150.
372. Kastan 2002, pp. 158n, 191n.
373. Whitfield 2015, p. 162.
374. Ackroyd 1990, pp. 824–825.
375. The Merry Wives of Windsor 1.3.1.
376. Melchiori 2000, p. 145n.
377. Henry IV Part 2 4.1.1-2.
378. Bulman 2016, pp. 102, 317SD.
379. Whitfield 2015, pp. 163–164.
380. Richard II 2.3.1-3.
381. Henry IV, Part 2 4.2.124-125.
382. Bulmer 2016, pp. 79–91, 292n, 386n, 403n. sfn error: no target: CITEREFBulmer2016 (help)
383. The Merry Wives of Windsor 4.4.27-30.
384. The Merry Wives of Windsor 4.6.19-20.
385. Melchiori 2000, pp. 273n, 275n.
386. Bevington 2015, pp. 155n, 161n.
387. Henry VI, Part 2 4.4.38.
388. Knowles 1999, p. 332n.
389. Henry VIII 4.1.34-35.
390. Whitfield 2015, p. 177.
391. McMullan 2000, p. 374n.
392. Richard II 5.1.51-52.
393. Richard II 5.4.8-10.
394. Forker 2002, p. 460n.
395. Richard III 3.3.8.
396. Siemon 2009, p. 270n.
397. Wilders 1995, p. 124n.
398. Bevington 2005, p. 120n.
399. 'Antony and Cleopatra 2.7.40.
400. Antony and Cleopatra 2.6.82.
401. Wilders 1995, p. 162n.
402. Wilders 1995, p. 154n.
403. Bevington 2005, p. 147n.
404. Henry VI, Part 2 4.4.26.
405. Knowles 1999, p. 328n.
406. King John 5.3.8.
407. Lander & Tobin 2018, p. 313n.
408. Henry VI, Part 1 2.4.3-4.
409. Burns 2000, p. 178n.
410. Henry VI, Part 1 1.4.1.
411. Burns 2000, p. 141n.
412. Henry VI, Part 2 4.5.4-6.
413. Knowles 1999, p. 316n.
414. Henry VI, Part 3 3.2.118-120.
415. Cox & Rasmussen 2001, pp. 316n–317n.
416. Henry VI, Part 3 5.5.82-84.
417. Cox & Rasmussen 2001, p. 359n.
418. Richard III 1.4.8-9.
419. Siemon 2009, p. 193n.
420. Richard III 3.2.28-29.
421. Siemon 2009, p. 272n, 280n.
422. Richard III 4.1.3.
423. Siemon 2009, p. 308n.
424. Henry IV, Part 2 2.4.358.
425. Bulman 2016, pp. 283n, 358n, 392n.
426. Henry VIII 4.1.96-99.
427. Berry 2016, pp. 63–64.
428. McMullan 2000, p. 256n.
429. Saccio 2000, p. 218.
430. Kastan 2002, p. 140n.
431. Dusinberre 2006, p. 149n.
432. Cartwright 2016, pp. 344–345. sfn error: no target: CITEREFCartwright2016 (help)
433. Hattaway 1990, p. 9.
434. Dusinberre 2006, p. 126.
435. Jowett et al. 2005. sfn error: no target: CITEREFJowettMontgomeryTaylorWelles2005 (help)
436. Gossett & Wilcox 2019, pp. 45, 60, 72, 108–110, 125, 152n, 123n, 183n, 238n, 370.
437. All's Well That Ends Well 5.1.30-31.
438. Hunter 1959, p. 3SD.
439. All's Well That Ends Well 1.2.22.
440. Hunter 1959, p. 16SD.
441. Hunter 1959, p. 21SD.
442. Hunter 1959, p. 34SD.
443. Hunter 1959, p. 47SD.
444. Hunter 1959, pp. 50SD, 66SD, 69SD.
445. All's Well That Ends Well 3.2.68-69, 4.3.15-16, 4.3.217-219, 5.3.125-128 & 5.3.145-146.
446. Gossett & Wilcox 2019, pp. 42–43, 45, 238n, 370.
447. Hunter 1959, p. 73SD.
448. Hunter 1959, p. 74SD.
449. Hunter 1959, p. 80SD.
450. Hunter 1959, p. 81SD.
451. Hunter 1959, p. 83SD.
452. Hunter 1959, p. 88SD.
453. Hunter 1959, p. 93SD.
454. Hunter 1959, p. 96SD.
455. Hunter 1959, p. 100SD.
456. Hunter 1959, p. 104SD.
457. Hunter 1959, p. 118SD.
458. Hunter 1959, p. 120SD.
459. All's Well Than Ends Well 4.4.9 & 4.4.80.
460. Gossett & Wilcox 2019, pp. 50, 290n.
461. Hunter 1959, p. 125SD.
462. Hunter 1959, pp. 127SD, 129SD.
463. Wilders 1995, pp. 90n, 95n, 106n.
464. Wilders 1995, p. 113n.
465. Wilders 1995, p. 119n.
466. Wilders 1995, pp. 128n, 142n–143n, 145n.
467. Wilders 1995, p. 146n.
468. Antony and Cleopatra 3.1.1
469. Wilders 1995, p. 174n.
470. Wilders 1995, p. 179n.
471. Wilders 1995, p. 185n.
472. Wilders 1995, pp. 186n–187n.
473. Wilders 1995, pp. 199n, 200n.
474. Wilders 1995, p. 204n.
475. Wilders 1995, pp. 208n–209n.
476. Wilders 1995, p. 211n.
477. Wilders 1995, p. 225n.
478. Wilders 1995, pp. 226n–227n.
479. Wilders 1995, p. 232n.
480. Wilders 1995, p. 237n.
481. Wilders 1995, p. 240n.
482. Wilders 1995, pp. 241n–242n.
483. Wilders 1995, p. 245n.
484. Wilders 1995, p. 247n.
485. Wilders 1995, p. 248n-249n.
486. Wilders 1995, pp. 263n–264n.
487. Wilders 1995, p. 270n.
488. Wilders 1995, pp. 275n–276n.
489. As You Like It 1.1.38-39.
490. Dusinberre 2006, p. 160n.
491. Dusinberre 2006, p. 189n.
492. Dusinberre 2006, pp. 195n, 197n.
493. Dusinberre 2006, p. 197n.
494. Dusinberre 2006, pp. 48, 202n.
495. Cartwright 2017, p. 139n.
496. Cartwright 2017, p. 153n.
497. Cartwright 2017, pp. 165n, 197n.
498. Cartwright 2017, p. 177n.
499. Cartwright 2017, pp. 197n, 211n.
500. Cartwright 2017, p. 227n.
501. Cartwright 2017, p. 237n.
502. Cartwright 2017, pp. 246n, 255n.
503. Cartwright 2017, p. 270n.
504. Holland 2013, p. 149n.
505. Holland 2013, p. 174n.
506. Holland 2013, p. 177n.
507. Holland 2013, p. 185n.
508. Jowett et al. 2005, pp. 1093–1094. sfn error: no target: CITEREFJowettMontgomeryTaylorWelles2005 (help)
509. Holland 2013, pp. 185–193, 188n.
510. Holland 2013, p. 193n.
511. Holland 2013, pp. 196n, 202n, 203n, 205n.
512. Holland 2013, p. 212n.
513. Holland 2013, p. 215n.
514. Coriolanus 2.2.160-161.
515. Holland 2013, p. 250n.
516. Holland 2013, p. 267n.
517. Holland 2013, p. 295n.
518. Holland 2013, p. 307n.
519. Holland 2013, p. 318n.
520. Holland 2013, p. 323n.
521. Holland 2013, p. 328n.
522. Coriolanus 4.4.1.
523. Holland 2013, p. 330n.
524. Holland 2013, p. 332n.
525. Holland 2013, p. 348n.
526. Holland 2013, p. 360n.
527. Holland 2013, p. 364n.
528. Holland 2013, p. 370n.
529. Holland 2013, p. 377n.
530. Holland 2013, p. 394n, 437n.
531. Holland 2013, p. 437n.
532. Coriolanus 5.6.49.
533. Coriolanus 5.6.80.
534. Holland 2013, pp. 399n, 438n.
535. Wayne 2017, p. 145n.
536. Wayne 2017, p. 139n.
537. Wayne 2017, pp. 174n, 179n, 195n.
538. Wayne 2017, p. 174n.
539. Wayne 2017, p. 215n.
540. Wayne 2017, p. 231n.
541. Wayne 2017, p. 243n.
542. Wayne 2017, p. 250n.
543. Wayne 2017, p. 263n.
544. Wayne 2017, p. 272n.
545. Wayne 2017, pp. 65, 77, 139, 164n, 279n, 319n.
546. Wayne 2017, p. 280n.
547. Wayne 2017, p. 282n.
548. Wayne 2017, p. 313n.
549. Wayne 2017, p. 316n.
550. Wayne 2017, p. 319n.
551. Wayne 2017, p. 322n.
552. Wayne 2017, p. 324n, 332n.
553. Wayne 2017, p. 347n.
554. Thompson & Taylor 2006, p. 147n.
555. Thompson & Taylor 2006, p. 164n.
556. Thompson & Taylor 2006, pp. 188n–189n.
557. Thompson & Taylor 2006, p. 201n.
558. Thompson & Taylor 2006, p. 227n.
559. Thompson & Taylor 2006, pp. 237n, 279n.
560. Thompson & Taylor 2006, p. 295n.
561. Hamlet 3.2.226-227.
562. Thompson & Taylor 2006, p. 326n.
563. Thompson & Taylor 2006, p. 333n.
564. Thompson & Taylor 2006, p. 355n.
565. Hamlet 4.1.34.
566. Thompson & Taylor 2006, pp. 358n, 361n.
567. Thompson & Taylor 2006, p. 366n.
568. Thompson & Taylor 2006, p. 372n.
569. Thompson & Taylor 2006, p. 391n.
570. Thompson & Taylor 2006, p. 393n.
571. Thompson & Taylor 2006, p. 433n.
572. Kastan 2002, p. 149n.
573. Kastan 2002, p. 163n.
574. Kastan 2002, p. 205n.
575. Kastan 2002, p. 257n.
576. Kastan 2002, p. 267n.
577. Kastan 2002, p. 280n.
578. Kastan 2002, p. 294n.
579. Kastan 2002, p. 301n.
580. Kastan 2002, p. 303n.
581. Kastan 2002, p. 312n.
582. Kastan 2002, pp. 319n, 324n.
583. Kastan 2002, p. 335n.
584. Bulman 2016, p. 165n.
585. Bulman 2016, p. 183n.
586. Bulman 2016, p. 203n-204n.
587. Humphreys 1966, p. 32SD.
588. Bulman 2016, p. 213n.
589. Bulman 2016, p. 229n.
590. Humphreys 1966, p. 49SD.
591. Bulman 2016, p. 243n.
592. Bulman 2016, p. 248n.
593. Bulman 2016, p. 283n.
594. Bulman 2016, p. 292n.
595. Bulman 2016, pp. 292n, 353n, 386n.
596. Bulman 2016, pp. 317n–318n, 345n–346n.
597. Norwich 1999, p. 164.
598. Norwich 1999, p. 161.
599. Bulman 2016, p. 386n.
600. Bulman 2016, p. 392n.
601. Bulman 2016, p. 403n.
602. Bulman 2016, p. 413n.
603. Norwich 1999, p. 210.
604. Craik 1995, pp. 156n, 181n.
605. Craik 1995, pp. 201SD, 201n, 215SD, 215n.
606. Taylor 1982, p. 157n.
607. Gurr 2005, p. 125.
608. Norwich 1999, p. 211.
609. Taylor 1982, p. 1.
610. Norwich 1999, pp. 185, 215.
611. Gurr 2005, p. 200n.
612. Gurr 1005, p. 204n. sfn error: no target: CITEREFGurr1005 (help)
613. Burns 2000, pp. 13, 129n.
614. Henry VI, Part 1 1.4.1.
615. Gossett 2004, pp. 171, 176, 194, 204, 208, 217–218, 222, 240, 248–249, 258–259, 263–264, 271, 276, 288–289, 303, 307, 308, 313, 322–323, 335, 340–341, 346, 363–364, 366–367, 394–395, 396–397, 404–405, 406.
616. Jowett et al. 2005, pp. 1059–1086. sfn error: no target: CITEREFJowettMontgomeryTaylorWelles2005 (help)

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