Lauren Shohet is Luckow Family Professor of English at Villanova University, USA and the author of Reading Masques: The English Masque and Public Culture in the Seventeenth Century (2010). Her writing on early modern poetry, drama, and form has focused on Milton, Marvell, Jonson, and Shakespeare, appearing in such journals as Poetics Today, Milton Studies, Shakespeare Studies, the Journal of Early Modern Cultural Studies, and the Yearbook of English Studies. She is coeditor of Gathering Force: British Literature in Transition 1557-1623 and of the first volume of the forthcoming three-volume British Literature in Transition 1557-1680 (general editor Stephen Dobranski, 2017). She has held fellowships and appointments from the National Endowment for the Humanities (USA), the Folger Shakespeare Library, the Huntington Library, and Freiburg Institute of Advanced Studies (Germany).

A luminous collection of essays that explore Shakespeare’s capacity to score time like music.

• List of IllustrationsNotes on ContributorsAcknowlegementsNote on Texts1. Introduction: Forms of Time (Lauren Shohet, Villanova University, USA)Part One: Illuminating2. Shakespeare’s theater of comic time (Kent Cartwright, University of Maryland, College Park, USA)3. Suspense Revisited: The Shared Experience of Time (Raphael Falco, University of Maryland, USA)4. “In the Course and Process of Time”: Rupture, Reflection and Repetition in Henry VIII (Philip Lorenz, Cornell University, USA) Part Two: Synthesizing5. Is Henry V still a history play? (Andrew Griffin, University of California, Santa Barbara, USA) 6. Allusion, Temporality, and Genre in Pericles and Troilus and Cressida (Lauren Shohet, Villanova University, USA) Part Three: Misaligning 7. Love’s Labours Lost and the Layered Temporality of Poetic Reception (Matthew Harrison, Albion College, USA) 8. Timing The Knight of the Burning Pestle: Genre, Style, and Performance (Lucy Munro, King’s College, London, UK)9. Time, Tragedy and the Text of Antony and Cleopatra (Rebecca Bushnell, University of Pennsylvania, USA)Part Four: Proliferating10. “The Death of Fathers”: Succession and Diachronic Time in Shakespearean Tragedy (William C. Carroll, Boston University, USA)11. Passionate Time in Elizabeth Cary's The Tragedy of Mariam (Lara Dodds, University of Mississippi, USA) 12. Future Histories in King Lear (Meredith Beales, University of Victoria, Canada) Part Five: Pleating13. Last Judgement to Leviathan: The Semiotics of Collective Temporality in Early Modern England (Robin Scott Stewart, University of California, Irvine, USA)14. Cymbeline, Janus, and Folded Time (Valerie Wayne, University of Hawaii, USA)NotesIndex

Lauren Shohet is Luckow Family Professor of English at Villanova University, USA and the author of Reading Masques: The English Masque and Public Culture in the Seventeenth Century (2010). Her writing on early modern poetry, drama, and form has focused on Milton, Marvell, Jonson, and Shakespeare, appearing in such journals as Poetics Today, Milton Studies, Shakespeare Studies, the Journal of Early Modern Cultural Studies, and the Yearbook of English Studies. She is coeditor of Gathering Force: British Literature in Transition 1557-1623 and of the first volume of the forthcoming three-volume British Literature in Transition 1557-1680 (general editor Stephen Dobranski, 2017). She has held fellowships and appointments from the National Endowment for the Humanities (USA), the Folger Shakespeare Library, the Huntington Library, and Freiburg Institute of Advanced Studies (Germany).

A luminous collection of essays that explore Shakespeare’s capacity to score time like music.

• List of IllustrationsNotes on ContributorsAcknowlegementsNote on Texts1. Introduction: Forms of Time (Lauren Shohet, Villanova University, USA)Part One: Illuminating2. Shakespeare’s theater of comic time (Kent Cartwright, University of Maryland, College Park, USA)3. Suspense Revisited: The Shared Experience of Time (Raphael Falco, University of Maryland, USA)4. “In the Course and Process of Time”: Rupture, Reflection and Repetition in Henry VIII (Philip Lorenz, Cornell University, USA) Part Two: Synthesizing5. Is Henry V still a history play? (Andrew Griffin, University of California, Santa Barbara, USA) 6. Allusion, Temporality, and Genre in Pericles and Troilus and Cressida (Lauren Shohet, Villanova University, USA) Part Three: Misaligning 7. Love’s Labours Lost and the Layered Temporality of Poetic Reception (Matthew Harrison, Albion College, USA) 8. Timing The Knight of the Burning Pestle: Genre, Style, and Performance (Lucy Munro, King’s College, London, UK)9. Time, Tragedy and the Text of Antony and Cleopatra (Rebecca Bushnell, University of Pennsylvania, USA)Part Four: Proliferating10. “The Death of Fathers”: Succession and Diachronic Time in Shakespearean Tragedy (William C. Carroll, Boston University, USA)11. Passionate Time in Elizabeth Cary's The Tragedy of Mariam (Lara Dodds, University of Mississippi, USA) 12. Future Histories in King Lear (Meredith Beales, University of Victoria, Canada) Part Five: Pleating13. Last Judgement to Leviathan: The Semiotics of Collective Temporality in Early Modern England (Robin Scott Stewart, University of California, Irvine, USA)14. Cymbeline, Janus, and Folded Time (Valerie Wayne, University of Hawaii, USA)NotesIndex

Lauren Shohet is Luckow Family Professor of English at Villanova University, USA and the author of Reading Masques: The English Masque and Public Culture in the Seventeenth Century (2010). Her writing on early modern poetry, drama, and form has focused on Milton, Marvell, Jonson, and Shakespeare, appearing in such journals as Poetics Today, Milton Studies, Shakespeare Studies, the Journal of Early Modern Cultural Studies, and the Yearbook of English Studies. She is coeditor of Gathering Force: British Literature in Transition 1557-1623 and of the first volume of the forthcoming three-volume British Literature in Transition 1557-1680 (general editor Stephen Dobranski, 2017). She has held fellowships and appointments from the National Endowment for the Humanities (USA), the Folger Shakespeare Library, the Huntington Library, and Freiburg Institute of Advanced Studies (Germany).

A luminous collection of essays that explore Shakespeare’s capacity to score time like music.

• List of IllustrationsNotes on ContributorsAcknowlegementsNote on Texts1. Introduction: Forms of Time (Lauren Shohet, Villanova University, USA)Part One: Illuminating2. Shakespeare’s theater of comic time (Kent Cartwright, University of Maryland, College Park, USA)3. Suspense Revisited: The Shared Experience of Time (Raphael Falco, University of Maryland, USA)4. “In the Course and Process of Time”: Rupture, Reflection and Repetition in Henry VIII (Philip Lorenz, Cornell University, USA) Part Two: Synthesizing5. Is Henry V still a history play? (Andrew Griffin, University of California, Santa Barbara, USA) 6. Allusion, Temporality, and Genre in Pericles and Troilus and Cressida (Lauren Shohet, Villanova University, USA) Part Three: Misaligning 7. Love’s Labours Lost and the Layered Temporality of Poetic Reception (Matthew Harrison, Albion College, USA) 8. Timing The Knight of the Burning Pestle: Genre, Style, and Performance (Lucy Munro, King’s College, London, UK)9. Time, Tragedy and the Text of Antony and Cleopatra (Rebecca Bushnell, University of Pennsylvania, USA)Part Four: Proliferating10. “The Death of Fathers”: Succession and Diachronic Time in Shakespearean Tragedy (William C. Carroll, Boston University, USA)11. Passionate Time in Elizabeth Cary's The Tragedy of Mariam (Lara Dodds, University of Mississippi, USA) 12. Future Histories in King Lear (Meredith Beales, University of Victoria, Canada) Part Five: Pleating13. Last Judgement to Leviathan: The Semiotics of Collective Temporality in Early Modern England (Robin Scott Stewart, University of California, Irvine, USA)14. Cymbeline, Janus, and Folded Time (Valerie Wayne, University of Hawaii, USA)NotesIndex