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“... What might be considered the enabling document for contemporary editorial practice was Stephen Booth’s remarkable Essay on Shakespeare’s Sonnets, published in 1969. This articulated, brilliantly, a poetics of indeterminacy as a way of reading the sonnets, arguing that the poems are essentially open, and that their interpretation is a function ...”

“... the Chandos, with its fetching gold earring, probably isn’t a picture of Shakespeare at all. As Stephen Orgel points out in his excellent new collection of essays, Imagining Shakespeare, the sitter for the Chandos portrait has unambiguously black hair, while the Janssen bust, commissioned and supervised by Shakespeare’s surviving family and ...”

“... Renaissance Literature and Culture. All the contributors are American, as are the General Editor, Stephen Orgel, and three out of five members of the editorial board. Orgel, a respected authority on the Jacobean court masque, is also interested in such historical curiosities as Renaissance cross-dressing and the ...”

“... in 1981 of a book focused on England: Patronage in the Renaissance, edited by Guy Lytle and Stephen Orgel. Taking their cue from Lytle and Orgel, F.W. Kent and Patricia Simons have turned the proceedings of a conference held in Melbourne in 1983 into a valuable volume of essays on patronage in Renaissance ...”

“... for Vickers, are an impressively varied range of flourishing Shakespeareans – from Stephen Greenblatt to Stanley Cavell, Lynda Boose to Robert Weimann – who are catalogued and castigated, chapter by chapter, under the usual demonised labels: as deconstructionists, New Historicists, psychoanalytic critics, feminists and Marxists (who share ...”

“... friends and colleagues of Professor Barton, ranging from American luminaries like Jonas Barish and Stephen Orgel to newcomers like Richard Rowland (who contributes a thumpingly good piece on Heywood). Shakespeare is still the most challenging object in the literary canon, the most generous with meaning and, at the same time, the most apt to find out folly ...”

“... were made use of as vehicles of fulsome adulation to tyranny and oppression.’ This sounds like Stephen Orgel or Stephen Greenblatt arguing that Renaissance plays – especially court-masque-influenced ones such as The Tempest – were bound up with the display and ‘inscription’ of monarchical power. In fact, it ...”

“... but is rapidly coming to be understood as the key to its entire meaning. This is one reason why Stephen Orgel’s Impersonations, which has grown out of his 1989 article, ‘Nobody’s Perfect, or, Why Did the English Stage Take Boys for Women?’, seems the most substantial and the most important of these studies, despite being the shortest, the ...”

“... problem is not so much to explain the rise of the so-called ‘New Historicism’ associated with Stephen Greenblatt and his friends and followers, as to account for the hostile reactions to it. Why should it be considered subversive to replace literary texts in their historical contexts? Is the movement dangerous because it is historicist or because it is ...”

“... be regarded as a theatre state, from the England of the early Stuarts (especially as analysed by Stephen Orgel), to the Spain of Philip IV and the France of Louis XIV (at least after his permanent move to Versailles), but the Papacy has the best claim of all. Leaving aside such possibly more superficial analogies as the sacred mountain, the immobile ...”

“... and sexual dissident. This reputation has recently been attacked by Riggs’s Stanford colleague Stephen Orgel in a fine essay called ‘Tobacco and Boys: How Queer Was Marlowe?’ (in The Authentic Shakespeare, 2002). Orgel points out that with the exception of his entirely heterosexual translation of Ovid’s ...”