, Apocrypha Redivivus, 2013.

, Women's Studies, vol.39, issue.3, p.185, 2010.

M. This-includes-franklin, If this is easily understood in the case of Michael, as he is quick to agree to plot against his master, critics have also pointed out Franklin's ambivalent and even criminal behavior. Ian McAdam even teased out the possibility that Franklin-the playwright's invention-may have been Arden's secret bed playfellow

, But Franklin does disturbingly encourage Arden's "willful credulity" early in the play, and Arden oddly listens to a man with no apparent experience of the opposite sex

. Mcadam, Since Alice is certainly not innocent, neither is this gesture, but the meaning of the tease is ambiguous: is she mocking Arden with her wandering adulterous tendencies or is she implying she recognizes Franklin as a sexual competitor, but one she does not fear?" Ibid. p. 58. Alice also claims "Then rides he straight to London; there, forsooth, / He revels it among such filthy ones, p.57

E. D. Hill, Theater, it must be recalled, was regularly defended against polemicists like Rankins and Gosson as a tool to weed out sin, moving criminals to confess their crimes, much in the way the mousetrap in Hamlet is meant to confound Claudius. Revealingly, Belsey recalls that when Thomas Heywood wrote "in defense of the moral efficacy of stage plays, Parody and History in Arden of Feversham (1592), vol.56, p.91, 1993.

, Similarly, the concluding line of the title page claims the play has a moral objective, "[showing] the great malice and dissimulation of a wicked woman, the unsatiable desire of filthy lust and the shameful end of all murderers

. Dolan, is somehow suspended between the idea of Arden's murder and its inevitable-but much deferredrealization, Studies in English Literature, vol.36, issue.2, p.291, 1996.

I. Holinshed, , 1062.

P. Sidney, . Defence-of-poesie, W. London, and . Ponsonby, , 1595.

, In this respect, I disagree with Frank Whigham's flat statement that "Arden of Faversham is a history play, Seizures of the Will in Early Modern English Drama, p.63, 1996.

I. Holinshed, , 1063.

R. Scot, Poison is [?] the weapon of choice for most female murderers in early-seventeenth century drama, as well as being a common method by which women commit suicide or are themselves dispatched, Possets, Pills and Poisons: Physicking the Female Body in Early Seventeeth-century Drama, p.44, 1972.

, hankering after exotic devices like poisoned paintings and poisoned crucifixes, somewhat to the irritation of the more practical Alice, Leggatt, p. 130. Margaret Tassi also recalls that poisoning on stage was regarded as an, pp.134-135

. Leggatt, Holinshed, by contrast, spoke simply of a painter's "skills, p.133

J. Watt, Choosing Death: Suicide and Calvinism in Early Modern Geneva, vol.LVIII, 2001.

, Apocrypha Redivivus, 2013.

E. Williamson, On elements of popular piety, see

J. Calvin, Destructive Defiance: Catholic and Protestant Iconoclasm in England, The Sermons of M. John Calvin upon the fifth book of Moses called Deuteronomy, London, 1583, pp.1550-1585, 2006.

, These four words, related phonically where not etymologically-complot, plat, plot, platform-appear in important and memorable contexts in the play, but nowhere in the Holinshed version of the murder, The words had political and religious overtones, p.369

, When Mosby suggests a plot in which a poisoned portrait of Alice would serve as the murder weapon, Alice's anxious response bespeaks an awareness of [the threat of being "read" according to standards other than her own]. In fact, this bizarre plan, which has no analogue in the Holinshed source material, provides a dense site for competing notions of the power of the gaze and the complicated interplay between subject and object, Schutzman argues that it must also be interpreted as proof of the need for the character to control her self-fashioning, p.308

J. Derrida, La pharmacie de Platon, pp.77-213, 1968.

X. I. , M. , and R. Oldenbourg, See also my paper: "'The sweet which is their poison': Of Venom, Envy and Vanity in Coriolanus, Theophilus Philippus Aureolus Bombastus von Hohenheim (Paracelsus), Sieben Defensiones, Verantwortung über etliche Verunglimpfungen seiner Mißgönner (Sämtliche Werke), p.144, 1928.

P. Kirwan, Arden of Faversham (Em-Lou Productions) @ The Rose Theatre Bankside"; "Arden of Faversham @ The Emlyn Williams Theatre, Theatr Clwyd, Blog, The Bardathon, 2010.

O. Sidney and . Cit,

, Following this train of thought, the poisoned painting thus becomes a Puritanical metaphor of theater, understood as a pernicious representation of sin. For the links between theater and poison, see also Tanya Pollard, Drugs and Theater in Early Modern England, p.123, 2005.

D. Ellis, Black Comedy in Shakespeare, Essays in Criticism, vol.51, issue.4, pp.385-403, 2001.

Y. Brailowsky, My bliss is mixed with bitter gall': gross confections in Arden of Faversham»