1. Skepticism and Memory (New York: Palgrave Macmillan, 2007).
2. The Shakespearean Moment (London: Chatto and Windus, 1954). Crutwell compares Donne’s Anniversaries to the style of Shakespeare’s later plays.
3. Oxford DNB, “Alleyn, Edward” (1566–1626): accessed on line 10/2/11 (Oxford University Press, 2005–2011: http://www.oxforddnb.com); see also R.C. Bald, John Donne: A Life (Oxford: Oxford University Press, 1970), 448–49. Donne’s maternal grandfather was the playwright John Heywood, and although Donne was only six when Hey wood died, he is likely to have been told of him. Aside from whatever commercial performances Donne might have frequented, his time in the university, as well as in the Inns of Court, would also have exposed him to plays.
4. Bald, John Donne, 72. Margret Fetzer’s study of Donne and speech-act theory offers a fairly comprehensive review of relevant criticism: John Donne’s Performances: Sermons, Poems, Letters and Devotions (Manchester: Manchester University Press, 2010).
5. William Shakespeare, Hamlet, ed. Ann Thompson and Neil Taylor (London: Thomson Learning, 2006), II.ii.334–36.
6. James L. Calderwood describes an Escher-like Hamlet who is “conscious of his dual identity [as actor and character] … almost as though he were an actor at a rehearsal”: To Be and Not to Be: Negation and Metadrama in “Hamlet” (New York: Columbia University Press, 1983), 30, 32. Judith Sherer Herz considers Donne’s illusionistic speaker “Escher-like”: “An Excellent Exercise of Wit That Speaks So Well of 111’: Donne and the Poetics of Concealment,” in The Eagle and the Dove: Reassessing john Donne, ed. Claude J. Summers and Ted-Larry Pebworth (Columbia: University of Missouri Press, 1986), 3–14, here 5.
7. Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Cambridge, MA: Harvard University Press, 1982), 18.