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The author suggests the allusion of Ralph Ellison's novel "Invisible Man" to William Shakespeare's "Macbeth" specifically to the scene of Duncan's murder. Topics include the elements of Shakepeare's scene that further substantiate "Invisible Man's" crisis identity, the author's analysis of the knocking scene in both works, and his argument that Ellison uses "Macbeth" as a short-hand for white construction of blackness.

The article discusses the divided opinions regarding the scribal copy of dramatist William Shakespeare's "Richard II." The article adds that scholars have been undecided as to whether the compositor's copy for the First Quarto (QI) of "Richard II (1597)," consisted of a manuscript (foul or fair) in Shakespeare's hand or was a scribal transcript in the hand of another. The stage directions in QI are authorial in character, and the text is thought to derive directly from Shakespeare's foul papers or from a non-theatrical transcript of them. The relative absence of the inconsistencies, confusions, and Shakespearian spellings associated with foul-paper texts leads to the suspicion that a transcript intervened. Furthermore, the article presents a couple of other views regarding it.

Discusses the quantity of contractions in the 1622 play 'Othello,' by William Shakespeare. Ernst Honigmann's suggestion in his book 'The Texts of 'Othello' and Shakespearian Revision' that Shakespeare wrote several drafts of the play; Ways in which the 1622 Quarto seems anomalous compared with authentic texts of the period.

The article discusses the review written by English poet John Keats which acknowledged the performance of British actor Edmund Kean in the 1817 theatrical presentations of William Shakespeare's plays "Richard III" and "Othello" in London, England. Topics explored include the publication of the theatrical review in "The Champion" journal, the roles portrayed by Kean in the plays, and the initial visit of Keats to the London theater and his first encounter with Kean.

The article presents information on Edmund Malone, literary critic. Malone is the editor of poet William Shakespeare and scholar, one whose work is most used, who almost always sums up a position soundly, and from whom it is dangerous to differ. Regrettably, his work, left by him incomplete and imperfect, suffered losses and errors in transmission also. The first edition, in ten volumes and published in 1790, is an incomplete and imperfect Malone, embodying his labors at an intermediate stage, but has the advantage that the author prepared the copy for the press and corrected proofs. Embodying a further twenty years' work, the projected second edition was published under the care of author James Boswell, from a copy prepared by him from Malone's papers.

The article examines the discovery of a records from a 17th-century British bookseller suggesting that William Shakespeare wrote a play titled "Love's Labour's Won" that was in print by the year 1603.

The article focuses on the depiction of body and memory in the play "Coriolanus" by William Shakespeare. It describes the discussion about memory and forgetfulness in relation to the excessive corporeality of the character Coriolanus in the play. The role of weariness and improper bodily disposition in the forgetfulness of Coriolanus is explained. Also noted is the different moral framework in the play in light of the description of peace that shows bodily dysfunction.

The author presents a criticism of the English play "Love's Labour's Lost" by William Shakespeare. She mentions the tale of King Cophetua and the Beggar Maid, presents several allusions to the ballad that appear in the play, and the performance of the ballad in the play.

The authors present a criticism of the English play "A Midsummer Night's Dream" by William Shakespeare. They discuss the history of the musk rose (Rosa moschata), the appropriateness of choosing an exotic rose to appear in the play, and the importance of proper plant identification in Elizabethan England.

The article examines scholarship that attempts to identify the attorney retained by a William Shackspere, possible the playwright William Shakespeare, in a 1600 lawsuit regarding a debt owed by John Clayton. Details are provided on research of public records which suggests the attorney was likely named Thomas Awdley and the other goes on to argue it was the Thomas Audley associated with Gray's Inn.

This article examines the date of author William Shakespeare's play "All's Well That Ends Well," in relation to author Ben Jonson's play "Volpone". It discusses the affinities in tone and subject matter between Jonson's play and Shakespeare's play, and a consequence of 1606 as the terminal date of Shakespeare's play.

The article examines the associations between Hand D and Addition III in the play "Sir Thomas More". It discusses the reasons identified by critic Hartmut Ilsemann for the play's having been written at the same time as the five acts of "2 Henry VI," and the date of the 147 lines of the play's Addition II in author William Shakespeare's Hand D and the 21 lines of Addition III in Hand C.

The article focuses on Edmund Malone, a literary critic and editor of poet and dramatist William Shakespeare's works. According to the author, his works which were left incomplete and imperfect, suffered losses and errors in transmission. The first edition of his work published in 1790, is an incomplete and imperfect Malone, embodying his labours at an intermediate stage, but has the advantage that the author prepared the copy for the press and corrected proofs. Modern Shakespearians' great debt to Malone in the broad fields of scholarship more readily assessed than what they owe to his discussion and establishment of the text in individual passages and to his painstaking scholarly explication of this text.

The article focuses on the authorship of the pamphlet "Painfull Adventures of Pericles Prince of Tyre" and the play "Pericles" by William Shakespeare. The author addresses the role of dramatist George Wilkins in each of these works and suggests that there is no proof that Wilkins was author or co-author of either one. The publication of the pamphlet by editor Tycho Mommsen and writer J. P. Collier in 1857 is discussed, as well as research into scholarship, authorship, book printing, and typographical evidence in the 17th century.

The article discusses the portrayal of John Talbot, the first Earl of Shrewsbury, as the terror of the French in the medieval English literature. At several points in dramatist William Shakespeare's "Henry VI," Lord John Talbot, first Earl of Shrewsbury, is described as being a scourge of the French. Talbot's very name and reputation is enough to panic and rout the French in the literature of mediaeval times. Talbot's fearsome reputation clearly stood out as a substantive element various play. He is explicitly referred to as the English hero and as the terror of the French. The assumption that Talbot's name was popularly deployed by French mothers as a means to scare their children into obedience is also found in June eclogue of Edmund Spenser's "The Shepheardes Calender."

Discusses Ben Jonson's observations about a line in William Shakespeare's play 'Julius Caesar.' Discrepancy between Jonson's quotation and the Folio text of the play; Line's focus on Caesar's denial that he does, or has, done wrong; Alteration that accidentally caused the omission of Metullus' interjection.

The article critiques the play "The Merchant of Venice," by William Shakespeare and the book "The English Romayne Life," by Anthony Munday, particularly commenting on the depiction of Jewish people in both the works. It addresses the possible inspiration from Munday for Shakespeare's character Shylock, the sympathetic treatment of Shylock, and persecution of Jews by European Christians.

The article discusses the question of whether the play "Henry V" by William Shakespeare contained a prologue and choruses when it was first performed in 1599, and argues that they did based on the evidence that imitations of them can be seen in the 1599 plays "Old Fortunatus" and "The Shoemaker's Holiday" by Thomas Dekker. The prologues of "Henry V" and "Old Fortunatus" are compared, and the general influence of Shakespeare's play on "The Shoemaker's Holiday" is discussed.

The article offers literary criticism of several plays including "Antonio's Revenge," by John Marston, "The Rape of Lucrece," by William Shakespeare, and "Bussy D'Ambois," by George Chapman. It is said that early modern drama uses the image of one's body being bound to a corpse as a symbolic punishment for adultery.

The article discusses the etymology of the word "bourne" and its use in William Shakespeare's play "Hamlet" and Michel de Montaigne's collection of essays "Essais." The author suggests that Shakespeare learned the word from the original French version of "Essais" and used it in Act III, Scene i of "Hamlet" in the same manner.

A literary criticism of the play "2 Henry VI" by William Shakespeare is presented. According to the author, Shakespeare's brief allusion to the Illyrian chieftan Bargulus in the play allowed him to compress and dramatize historical events and to connect the Illyrians with the heroes of early English history. Topics discussed include ships, pirates, and the essay "De Officiis" by the Roman philosopher Marcus Tullius Cicero.

A literary criticism of the plays "King John" and "Henry V" by William Shakespeare is presented. It uses stylistic authorship analysis to compare the plays' usage of function words to that of other early modern plays. Topics discussed include the attribution of various plays sometimes included in Shakespeare's works, differences between poetry and prose, and coherence.

The article discusses names in the work of author Samuel Beckett and William Shakespeare. It is argued that Beckett typically gave his characters monosyllabic names beginning with M or W and that these characters often seem to be the same. There are, however, two characters in the novel "Molloy" named Jacques, which is unusual in Beckett's oeuvre. Shakespeare's play "As You Like It" also contained two characters named Jacques, which has been confusing for some and has led certain publishers to change names.

The article focuses on the book "Bocke of Plaies and Notes therof per Forman for Common Pollicie," by Simon Forman and discusses his observations of the performances of several of dramatist William Shakespeare's plays. A comparison is made between Forman's notes on "Macbeth" and the text in the First Folio. The writings of Raphael Holinshed are also used as a comparison of Forman's accuracy in rendering the play.

A literary criticism of the play "As You Like It" by William Shakespeare is presented. It evaluates the setting of the play, the Forest of Arden, and Shakespeare's interpretation of that setting as a proper place to explore the ideas of identity and love. It examines this interpretation by referencing several literary works which include Maria Boiardo's epic poem "Orlando Innamorato," Thomas Lodge's romance "Rosalynde," and the epic French poem "Chanson de Roland."

A literary criticism is presented which discusses whether William Shakespeare utilized "The Whole Booke of Psalme, Collected Into Englishe Metre (WBP)," translated by Thomas Sternhold and John Hopkins, as source of material for his writings. The author notes the popularity of Sternhold and Hopkins' translations and discusses the influence of the Psalms in Shakespeare's poetry, such as "Sonnet 66" and "Sonnet 21," and his plays "Macbeth" and "The Rape of Lucrece."

A literary criticism is presented which discusses the influence of the play "The Taming of the Shrew," by William Shakespeare, on the play "How a Man May Choose a Good Wife From a Bad," believed to have been written by Thomas Heywood. The author notes the lack of influence of "The Taming of the Shrew" on comedies produced during the Elizabethan period. He notes how both plays emphasize the submissiveness of their female characters during their endings and contain similar dialogue.

The article looks at the etymologies of the terms "inkle" in the play "The Winter's Tale," by William Shakespeare and "natty." According to the "Oxford English Dictionary," the first term has no certain derivation. "Inkle" was derived from Latin "uncialis" which is the same notion that generated "inch," based on a loan. The sartorial dimension of the meaning of the second word is the focus of the entry in the dictionary. The difficulty in tracking the words' histories is attributed to their lack of association with a larger word family.

The article discusses how the poem "The Curse," by John Donne illustrates the influence of the theatrical production "The Merchant of Venice" and the torture of Catholics during the reign of English queen Elizabeth I. The author notes that Donne may have been in London, England as "The Merchant of Venice" was being performed and discusses references to torture and treason in the play. Donne's conversion to Protestantism from Catholicism and his criticism of judicial torture are noted. "The Curse" also contains references to the secrecy regarding decisions to torture prisoners made by the English Privy Council.

The article presents a note of literary history and criticism, discussing parallels between the works of the English-American novelist Henry James and the English playwright William Shakespeare. Comparisons between James' novel "Confidence," and Shakespeare's comedy "Love's Labour's Lost," are given, particularly the thematic tropes of love, money, and farce.

Indicates that when scholars deal with the biblical references of Williams Shakespeare, they usually cite the `Authorized King James Bible of 1611,' rather than use the English Bible. Comparison of Shakespeare's biblical reference to the `Authorized King James Bible'; Word of caution to critics and editors of Shakespeare's work; Use of biblical references by several authors.

The article focuses on copy of fifth quarto of play "Hamlet" which contains performance of play information in 1664 and mentions work of playwright William Shakespeare through 1700. Topics discussed include existence of Shakespeare quartos in Germany, adaptation of Shakespeare's play "The Law against Lovers" by theater company Duke's Co., and performance history of Shakespeare's plays in London, England.

The author discusses the importance of the date of Robert Devereux's, Earl of Essex, insurrection against England's Queen Elizabeth I on February 8, 1601. The author points out that the date marked the anniversary of the execution of Mary Stuart, Queen of Scots who died February 8, 1587. Collaborators of Essex also commissioned the Lord Chamberlain's Men to perform William Shakespeare's play, "Richard II," on February 7, 1601 as a way to sway public sentiment against Elizabeth.

The article adds that the jest-book "The Booke of Bulls" contains a neglected allusion to William Shakespeare and George Wilkins's "Pericles," and Thomas Middleton's "Hengist King of Kent." Jokes about the theatre are not uncommon in jest-books of the early and mid seventeenth century, but this one is unusual both in its circumstantial detail and in its focus on audience members' emotional response to drama. It is also one of a group of jokes about the professional theatre in "The Booke of Bulls."

The article traces the literary correlation and influence of Italian Playwright Torque Tasso's drama in verse "Aminta," in two Shakespearian comedies. Dramatist William Shakespeare's play "Love's Labour's Lost," has often been described as a play with no sources. But it is now known that Shakespeare borrowed from at least three Italian poems as he wrote it: Ariosto's Orlando Furioso, Boiardo's Orlando Innamorato, and Berni's Rifacimento of that poem. The article adds that to these three can now be added a fourth Italian source, Torquato Tasso's pastoral drama in verse, Aminta, a work which was much in vogue in England in the last two decades of the sixteenth century and the early years of the seventeenth.

The article discusses a poem "Parting," by Edward Thomas and compares it with poetry of William Shakespeare and Alfred Tennyson. The poem begins with a generalized discussion of the past. It is in two parts and there are echoes of poetry by Tennyson and Shakespeare in the poem. "Parting" also consists six stanzas like several sections of Tennyson's "In memoriam." There are even some similarities in some lines also as the linking of the stanzas with the rhyme of 'this' and 'bliss'. The poem also echoes Shakespeare's 'Full fathom five', a song in "The Tempest."

Discusses inconsistencies in William Shakespeare's play '2 Henry VI.' Unsolved mysteries presented by the play to textual scholars; Questions about the provenance and chronology of all the Henry VI plays in the First Folio; Argument that the classical allusions in the play do not trace back to the same source.

Analyzes the appearance of fourteeners or heptameter lines in the play 'Cymbeline,' by William Shakespeare. Possible explanation for the nine unbroken fourteeners in the First Folio text; Appearance of tetrameter or trimeter lines.

Suggests a way for invalidating the hypothesis on attributing a text by William Shakespeare to reconstruction based on memory. Demonstration of unbroken transcription in the manuscript linkage between two texts; Examination of non-coincidental correspondence between Quarto I of the play `Richard III' and 1623 Folio text in the alternation between two titular names, Derby and Stanley.

Discusses arguments that some of the verse in William Shakespeare's play, 'Henry VIII,' sounded more like John Fletcher's than Shakespeare's. Metrical data produced by James Spedding in 1850 in support of a division of the play between the two dramatists; Cyrus Hoy's conclusion that on the basis of linguistic evidence, Fletcher's share of the play was smaller than Spedding and Hickson had supposed; Summary of the state of the controversy from Gary Taylor.

Presents a textual analysis of William Shakespeare's play 'King Lear.' Difference between the Quarto and the Folio versions of the last scene; Suggestions that the text is corrupt; Characterization of Edmund and Lear.

Studies the influence of witchcraft on Shakespeare while dramatizing the mock-trial of King Lear's daughters in the play of the same name.

Criticizes Dr. M. W. A. Smith's views on whether Shakespeare wrote `Edmund Ironside.'

Studies the factual documents which leads to the details of the birthplace of poet William Shakespeare. Information on yeoman Lewis Hiccox's inventory list.

Analyzes various interpretations of the views of King Richard III on his horse in the play `King Richard III,' by William Shakespeare.

The article reports that the dogmatic certainty of author Eric Sams's conclusion that every rational Shakespeare-lover will see that the documentary evidence permits only one hypothesis--that Pericles (play) was an early Shakespeare play which he later revised--is dispelled by an open-minded evaluation of the evidence.

This article reports that for three years a Shakespeare Clinic of Claremont Colleges undergraduates has been using computers to see which of fifty-eight claimed true authors of dramatist William Shakespeare's poems and plays actually matched Shakespeare's style. The focus in the Clinic's final year was on twenty-seven poet-claimants, using both a new modal test and a battery of more conventional tests. None of the poets tested matched Shakespeare. Poet Walter Raleigh, the closest to Shakespeare by modal test, was 2.4 standard errors distant from Shakespeare's mean modal score, with not much better than a two per cent chance of common authorship. Metaphysical poet John Donne, the most distant claimant, was 36.6 standard errors distant from Shakespeare.

This article reports that the first performances of the play "Coriolanus," have never been tracked down by default of any record, they are held to have followed directly on its composition. Author John Dover Wilson dates the play's composition in early 1608, using the line about the coal of fire upon the ice as his main clue. He observes that in January of that year pans of coals were set to burn on the frozen Thames, an exceptional event which had not occurred since dramatist William Shakespeare's year of birth. Other scholars have accepted this date, and the present writer accepts a composition date of early 1607/8 also. However, the full implication of a winter 1607/8 composition date has not been fully appreciated. The play could just as well have been performed at the Blackfriars as at the Globe if its first performance followed within three months of its composition.

This article reports that author Lily B. Campbell has shown, the use of history to show contemporary events which was well established before dramatist William Shakespeare began to write. The book "Richard III," was seen as the archetype Machiavellian politician and two of principal ministers, William Cecil, Lord Burghley, and the Earl of Leicester, had been likened to the historical Richard for their ruthlessness, political cunning, and the way they disposed of rivals for power. By late 1591, the earliest date usually given for "Richard III," Leicester was dead and Burghley was over sixty.