1. Tanya Pollard, ‘What’s Hecuba to Shakespeare?’, Shakespeare Quarterly 65.4 (2012), pp. 1060–93 (1064 n.15).
2. H. B. Charlton, ‘The Growth of the Senecan Tradition in Renaissance Tragedy’, in William Alexander, The Poetical Works of Sir William Alexander, ed. L. E. Kastner and H. B. Charlton, 2 vols (Manchester: Manchester University Press, 1921), vol. 1, pp. xvii–cc (xlix). Alfred Harbage notes an English prose summary of Euripides’ tragedy, in manuscript, by Cornelius Schonaeus (1540–1611) (‘Elizabethan and Seventeenth Century Play Manuscripts’, PMLA 50.3 (1935), pp. 687–99 (694)).
3. Linda Hutcheon, A Theory of Adaptation (New York: Routledge, 2006), p. 149.
4. Charlton, ‘Growth of the Senecan Tradition’, pp. xxxi–xxxii. See also Gordon Braden, who notes that Seneca’s plays enjoyed ‘a fair circulation by the mid-thirteenth century’ (Renaissance Tragedy and the Senecan Tradition: Anger’s Privilege (New Haven: Yale University Press, 1985), p. 101). E. M. Spearing suggests that Studley used the 1541 Lyon edition of Medea for his translation, rather than the Aldine or Venetian editions of 1517. John Studley, Translations of Seneca’s ‘Agamemnon’ and ‘Medea’, ed. E. M. Spearing (Louvain: A. Uystpruyst, 1913), p. xii. Continental knowledge of Seneca’s tragedy before 1500 is also reflected by its quotation in the Malleus Maleficarum of 1486, where it is used to demonstrate the dangerously unbridled nature of women: Keith Thomas has shown, however, that the Malleus was not widely known in medieval or early modern England (Religion and the Decline of Magic: Studies in Popular Beliefs in Sixteenth and Seventeenth Century England (London: Weidenfeld and Nicolson, 1971, repr. 1997), p. 440). For references to Seneca’s Medea,
5. see Heinrich Kramer and James (or sometimes Jacob) J Sprenger, Malleus Maleficarum, ed. and trans. Montague Summers (London: Hogarth, 1928, repr. 1969), pp. 45–6.