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8. T. S. Eliot, “Shakespeare and the Stoicism of Seneca,” in Selected Essays (New York: Harcourt, Brace & World, 1932, 1950), 111.

9. It’s worth noting “cheering up” is a phrase found at least twice in Shakespeare (2 Henry IV 4.4.13; Macbeth 4.1.127) and is not in itself a modern idiom.

10. T. S. Eliot, “Hamlet and His Problems,” in Selected Essays, 121.

11. E. Talbot Donaldson, Chaucer’s Poetry: An Anthology for the Modern Reader (New York: Ronald Press, 1958, second edition, 1975), 1,044–45.

12. Hugh Grady and Terence Hawkes, eds., Presentist Shakespeares (London: Routledge, 2007). Evelyn Gajowski, ed., Presentism: Gender and Sexuality in Shakespeare (Basingstoke, UK, and New York: Palgrave Macmillan, 2009).

13. Hugh Grady, “Shakespeare Studies, 2005: A Situated Overview.” Shakespeare: A Journal 1 (2005), 112.

14. Ewan Fernie, “Shakespeare and the Prospect of Presentism,” Shakespeare Survey 58 (2005), 8.

15. Roger Fry, letter to Helen Anrep, August 4, 1927. In Letters of Roger Fry, ed. Denis Sutton (London: Chatto and Windus, 1972), 2:603.

16. Virginia Woolf, “How Should One Read a Book?,” The Second Common Reader, 265. Originally published in The Yale Review, 1926.

17. Ibid., 266.

18. Ibid., 268–69.

19. Ibid., 270.

20. William Wordsworth, “Essay Supplementary to the Preface” of the 1815 edition of The Lyrical Ballads, in Paul D. Sheats, ed., Poetical Works of William Wordsworth (Boston: Houghton Mifflin, 1982), 814.

21. Thomas de Quincey, Murder Considered as One of the Fine Arts: Three Memorable Murders: The Spanish Nun (New York and London: Putnam, 1889), 5.

22. Jorge Luis Borges, “Kafka and His Precursors” (1951). In Other Inquisitions 1937–1952, trans. Ruth L. C. Simms (New York: Simon & Schuster, 1964), 108.

23. Jorge Luis Borges, “Pierre Menard, the Author of the Quixote,” trans. James E. Irby in Labyrinths, eds. Donald A. Yates and James E. Irby (New York: New Directions, 1964), 39.

24. Ibid., 41–42.

25. Ibid., 42.

26. Ibid., 43.

27. Ibid., 42.

28. André Maurois, preface to Borges, Labyrinths, xii.

29. Borges, “Pierre Menard,” 44.

30. Virginia Woolf, “How It Strikes a Contemporary,” in The Common Reader, First Series (1925), ed. Andrew McNeillie (New York: Harcourt Brace, 1984), 231. Originally published in the The Times Literary Supplement, April 5, 1923.

31. Ibid., 233.

32. Ibid., 240.

33. Ibid., 241.

34. Ralph Waldo Emerson, “Shakespeare; or, the Poet,” “Representative Men” (1950). Ralph Waldo Emerson, Essays and Lectures, eds. Joel Porte, Harold Bloom, and Paul Kane (New York: Library of America, 1983), 718.

35. Oscar Wilde, preface to The Picture of Dorian Gray, in The Complete Works of Oscar Wilde (New York: Harper & Row, 1989), 17.

36. Richard Ellmann, Oscar Wilde (New York: Alfred A. Knopf, 1988), 319.

37. Wilde, “The Critic as Artist,” in The Complete Works, 1,026; Ellmann, Oscar Wilde, 312.

38. I have elsewhere discussed this scene as evidence of Shakespeare’s present and shifting modernity. See Marjorie Garber, Shakespeare and Modern Culture (New York: Pantheon, 2008), 272–73.

SEVEN On Truth and Lie in a Literary Sense

1. T. S. Eliot, “Burnt Norton,” Four Quartets in The Complete Poems and Plays, 1909–1950 (New York: Harcourt, Brace and Company, 1952), 118.

2. Errol Morris, “Play It Again, Sam (Re-enactments, Part One),” as cited in Week in Review, Op-Extra, The New York Times, April 6, 2008.

3. Sir Philip Sidney, Defence of Poesie, ed. Dorothy M. Macardle (London: Macmillan, 1962), 33.

4. Ibid.

5. Ibid., 18. The truth value of “poesie” (by which Sidney means all imaginative writing, whether in verse or in prose) lay in its verisimilitude, not in its verifiability.

6. Motoko Rich and Brian Stelter, “As Another Memoir Is Faked, Trust Suffers,” The New York Times, December 31, 2008, C1.

7. Gabriel Sherman, “The Greatest Love Story Ever Sold,” The New Republic, December 25, 2008.

8. Harris Salomon, president of Atlantic Overseas Pictures, which was scheduled to produce a film based