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2002, Lewis Walker, comp., “General Works (Items 0067–1154)”, in Shakespeare and the Classical Tradition: An Annotated Bibliography 1961–1991, New York, N.Y., London: Routledge, →ISBN, page 300:
[…] "[I]lleism with a difference" occurs when a character, speaking in the first person, refers to himself by name (not simply by a pronoun, which is illeism proper). Sh[akespeare] makes significant use of the device in only four "middle plays." […] This sort of illeism enriches the dramatic context […]
2005, S. Viswanathan, “‘Illeism with a Difference’ in Certain Middle Plays”, in Exploring Shakespeare: The Dynamics of Playmaking, New Delhi: Orient Longman, →ISBN, page 5, footnote 12:
In origin, the device of ‘illeism’ is a joint legacy to Elizabethan drama of the native English medieval stage tradition and of the Senecan translations, and one already used before Shakespeare by Kyd, Peele, and Marlowe. Also, this ‘illeism’ was a mannerism of the historical Julius Caesar as in evidence in his Commentaries; […]
or some reason, illeism is especially attractive to professional sports players. The award for the best display of illeism has to go to baseball player Rickey Henderson, who left this message on his manager's voice-mail: "Kevin, this is Rickey, calling on behalf of Rickey" (quoted in Sports Illustrated).
It seems likely that Isabella's 'how she treads the air' is the kind of illeism that Franciscus uses later in this scene at l 216: 'He handles him like a feather. Hey!' […] It should be noticed that some editors are confused by Franciscus's illeism as well, and give his line to Lollio.