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The article discusses the allusions to Christopher Marlowe's plays "Edward II" and "Doctor Faustus" in William Shakespeare's play "The Comedy of Errors." Topics explored include comparison between the settings of the said plays, the observations made by author Harold F. Brooks regarding the allusions involving the characters Doctor Pinch, Antipholus of Ephesus, and Edward, and the homoerotic content employed by Shakespeare in his play.

The article focuses on William Shakespeare's comedies, including his late romances which contain this feature which is seldom found in other early modern English plays and noted the Shakespearean exceptions to or modifications of his usual practice. Topics include examines that the anonymous The Taming of a Shrew (1594) provides a rudimentary counterpart to the Shakespearean norm.

The article examines a transcription by the poet John Weever, focusing on how it provides context to epitaphs credited to playwright William Shakespeare for the tomb of moneylender John Combe. Details are provided on Weever's copy of the epitaph during his visit to the church in Staffordshire, England in 1617-1618, where Combe was buried. The article goes on to discuss how Weever's records provide a timeline for the construction and design of Combe's tomb and monument.

The author relates a comparative orthographic study of the signed version of Anthony Munday's "John a Kent and John a Cumber," with the handwriting know as "Hand M" in the play "Sir Thomas More." While the author agrees that the handwriting is the same hand, there are several word spellings and contractions that appear in "Sir Thomas More" that do not appear in Munday's other works.

The article discusses the ambiguity in playwright Christopher Marlowse's phrase "scourge of God," on the title-page of the 1590 octavo, the earliest published edition of the play. The article adds that in a recent note on the book "Tamburlaine the Great, Andrew Hadfield is right to stress the ambiguity of the tag "scourge of God" on the title-page of the 1590 octavo. But bearing in mind early modern publishing practices and the printer's address to the reader, the design was very possibly Richard Jones's who happened to be Marlowe's publisher. Modern editors also agree that the text on which the 1590 octavo was based did not have theatrical provenance.

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

Discusses John Ford's play `'Tis Pity She's A Whore'. Plot; Critics' assessment of the play; Folie a deux syndrome; Definition; Sources of knowledge of the syndrome; Meaning of Ford's having a conception of the syndrome; Impact on understanding of the play.

The article focuses on the play "Hamlet," by William Shakespeare. It is the Oxford editors who begin with their own beliefs as a conclusion which they then tailor their material to fit, exactly as they complain about Cambridge. Thus the preamble to their "Hamlet," exposition omits to mention that the memorial reconstruction by actors was announced on its 1603 title-page as the work of William Shakespeare. In "Hamlet," just as in "King Lear," and hence in other multiple-text plays, Shakespeare was a revising artist.

The article focuses on the text of "The Merry Wives of Windsor." Dramatist William Shakespeare chose to locate his comedy at Windsor because in several contemporary plays, small towns in close proximity to London are strongly associated with adultery and runaway marriages. In "Northward Ho," the town of Ware is seen as an appropriate place for Londoners to seek adulterous sex. "The Roaring Girl," the route to Windsor bridge is clearly identified with illegal runaway marriages.

The article invites correspondences which may lead to the whereabouts of one of the manuscripts of the 1408 Middle English prose translation of Vegetius' "De Re Militari." The author states that any information will be gratefully received, and will be acknowledged in the forthcoming edition. Information is also wanted as to the present whereabouts of Ashburnham M.S. Barrois, a French commentary on the Penitential Psalms and whereabouts of "The Dairy of Jeffrey Boys of Gray's Inn, 1671."

The article presents two manuscripts of author and poet John Cleveland. These two manuscripts were found in the Library of the University of Nottingham after conferring the catalogue at the National Register of Archives, Quality Court, London. These manuscripts were deposited in 1972 by Solicitors of the Duke of Portland and had been discovered in a box with other seventeenth-century records. These compositions are written on a single sheet. There is a watermark in a central position on the sheet, which looks like a unicorn. The hand in which these words are written is different from that of the verse, barring the Spanish word Querpo, in the eighth line.

The article presents corrections to Henry Plomer's biography of printer-publisher Thomas Harper. The publisher put out five or fewer editions per year between 1614 and 1629 discounting a period of military service from 1616 to 1623. It details evidence confirming that Harper purchased his second press, previously owned by Thomas Snodham, in 1629 and not 1635. It notes that Plomer could have been misled by another entry in the company records that simply relates that Harper possessed two printing presses in 1634.

A list of the page and line numbers in the poem "Parnassus," by John Cleveland wherein poet John Cleveland was included, is presented.

The article presents a previously unpublished poem written by William Cavendish, First Duke of Newcastle. It provides a brief overview of Cavendish's role during the English Civil War and discusses his exile in Paris, France, Hamburg, Germany, and Antwerp, Flanders. The author notes that while Cavendish's writings generally expressed a carefree attitude regarding his exile, the examined poem presents a serious view of a defeated cause and the difficulties of exile.

The article focuses on the Brotherton Collection of the Leeds University Library. It is a collection of manuscript verse of the mid-1620s onwards, predominantly associated with Hatfield House in England and the household of English statesman William Cecil, and the second Earl of Salisbury. The manuscript, largely transcribed in a single accomplished secretary hand, contains an anonymous sequence of ten poems addressed to Hatfield and its inhabitants. The first poem of this sequence, "His First All Hayle to Hatfield," is like the other nine of the sequence, apparently unique to this manuscript; written throughout its 348 total lines in heroic couplets.

Studies the source of the sub-plot in the play `A Cure for a Cuckold,' by John Webster. Account of the geographical setting of the story; Symbolism of the nightingale; Use of the nightingale figure in Webster's play `The Duchess of Malfi.'

Reviews Golding's contribution to the paintings in Shakespeare's `The Taming of the Shrew' and the poetry of the duet in `The Merchant of Venice.'

The article informs that two manuscripts of writer John Cleveland were found in the Library of the University of Nottingham after consulting the catalogue at the National Register of Archives, Quality Court, London. They were deposited in 1972 by Solicitors of the Duke of Portland and had been found in a boxwith other seventeenth-century documents, including a notebook of Lady Brilliana Harley. They are now in the Portland Collection at the University of Nottingham Library as Pw V 177 and Pw V 178.

The article discusses a proposal for emendation of William Shakespeare's play "The Taming of the Shrew." Fumigators and censers were used chiefly to provide a pleasant smell for the rooms of a house, but there is no reason to suppose that they would be used more particularly in a barber's shop than in any other place, as " The Taming of the Shrew," seems to suggest. There is no indication that a censer was a regular appendage of an Elizabethan barber's shop. The form 'censer' can therefore be dismissed as conjecture until evidence is produced to the contrary.

The article examines the relationship between William Shakespeare's play "The Taming of the Shrew," and Thomas Kyd's play " The Spanish Tragedy." Despite the knowledge of Shakespeare's highly retentive memory and his general willingness to adapt other men's stories and words, one often seem reluctant to accuse him of being the borrower but prefer to assume that the other dramatist borrowed from him. Despite the fact that the two plays are written in completely different genres they have considerable formal similarities in the widespread use they both make of on-stage audiences, setting up situations whereby the audience in the theatre is encouraged to see part or all of the action through the eyes of another audience.

The article discusses the concept of a sixth sense used in the poem "The Hecatomb to his Mistresse," by John Cleveland. It notes that the line refers to passages from the "Exotericarvm Exercitationvm," by Julius Caesar Scaliger. Scaliger's discussions of senses, one referencing Aristotle and another referencing human sexual desire, are examined.

The author proposes that the changes made by editors in Petruchio's speech in "The Taming of the Shrew," IV.i is incorrect. The author feels that the line that reads "Soud, soud, soud, soud." in "The First Folio of Shakespeare: The Norton Facsimile," is actually William Shakespeare's attempts to give Petruchio a way to make inarticulate noises of condemnation as opposed to a typographic error. The noise would be similar to today's written "harrumph."

The article focuses on the wooing scenes in two plays, "Richard III," by William Shakespeare, and "The Changeling." The wooing scene occurs with unsurprising frequency in early modern drama. "The Changeling" deploys several wooing scenes; indeed wooing is a persistent theme in the play. There are clear character, plot, and thematic parallels between the wooing scenes in the two plays. In both scenes a deformed man, the killer of the man standing between him and the woman of his desire, seeks ostensibly to woo her, covertly to subject her to his power; his apparent sincerity conceals an ulterior motive.

The article discusses the charges of plagiarism on author John Lyly for his literary creation "Euphues." Lyly tends to be more forthcoming about his sources. However, what he does not tell is that he is quoting verbatim from Arthur Golding's translation of the "Gallic Wars." Lyly reproduces almost all of Golding's translation of Caesar's description of Britain. Lyly omits one or two sentences which merely amplify a topic, whilst other matters - such as the relative lack of iron or the community of women - seem to have been deleted as contrary to his main purpose of providing a generally complimentary picture of the country.

Presents a textual analysis of ''Tis Pity She's a Whore,' a play which has references and echoes of previous dramas. Verbal parallel between lines spoken respectively by the Ghost in 'Hamlet' and by the Friar in ''Tis Pity She's a Whore'; Characters' offer of views of what awaits mankind after death.

Discusses the observation of R.F. Hill, in his edition of John Ford's play, 'The Lover's Melancholy,' that various elements in the depiction of the setting, Cyprus, suggest Ford's acquaintance with its role in the power struggle in the eastern Mediterranean. Content of Sir Edward Stradling's book, 'Winning of the Lordship Glamorgan.'

Presents similarities in some of the scenes of John Ford's `The Broken Heart' with William Shakespeare's `Troilus and Cressida.' Combination of the names Orgilus and Athens in the opening of the play; Interest in the classical Greek setting particularly on the rulers of Sparta; Presence of roughly analogous sets of plot elements on both play.

Explores the veiled meanings of the words `politic frenzy' and `politic French' in John Ford's play, `The Broken Heart.' Ford's acceptance of the French reputation for dissimulation; Proofs of opposition to the use of `frenzy'; Requirement of a two-syllable noun that fits the context; Rejection of Hamlet on dissimulation.

Studies the influence of William Shakespeare's `Henry IV Part One' on John Ford's `Perkin Warbeck.' Similarity in the opening lines; Ford's emphasis on the insecurity of Henry VII's position; Unpopularity of the chronicle history during the publication of `Perkin Warbeck.'

Disputes the universally accepted date of playwright John Ford's baptism. Correct date of Ford's baptism; Tracing of the error.

This article presents information related to Jacobean and Caroline drama. The 1633 quarto of John Ford's tragedy, "Loues Sacrifice," contains an exchange between the licentious courtier Fermentes and Julia, one of his lovers. La is a familiar exclamation in English dramatist William Shakespeare's work, emphasizing Ferentes' surprise or indignation. But shey is altogether more puzzling. The word is not recorded by Oxford English Dictionary. All editors of "Loues Sacrifice," have treated it as a corruption of the text.

This article presents information related to wooing scenes in "Tis Pity She's a Whore," and "Richard III." Critics have often been divided about the extent to which an audience is intended to sympathize with the incestuous lovers in `Tis Pity She's a Whore." It does not seem to have been previously noticed, however, that amongst the many fictional antecedents who are drawn on in Ford's creation of the character of Giovanni is William Shakespeare's Richard III; and an invitation to compare the young lover with that blackest of all Elizabethan villains might well have inclined Ford's audience to view him in a less favourable light than has sometimes been suggested.

The article presents information about the plays "The Battle of the Vices against the Virtues," and "The Muses' Looking Glass," by Thomas Randolph. "The Muses' Looking-Glass" was originally known and acted under the name of The Entertainment, which would be a more suitable categorical description for it the play, as it can hardly be called a drama, although it was written for presentation on stage. Roscius, who is the dominant dramatis persona, persuades two Puritans, Mistress Flowerdew and Master Bird into foregoing their detestation of theaters, and to see how a play may be productive of moral good.

The article informs that "The Battle of the Vices Against the Virtues," Moral, 'tempe Charles I.' Ment by Fleay Schoenbaum's editorial foreword to this list of extant plays omitted from the foregoing Chronology because of their uncertain date and identity' indicates very careful attention to probabilities and possibilities, and it is in this vein that the author think that it's possible to suggest further clarification on this one item. "The Battle of the Vices Against the Virtues," could easily be construed, likewise, as a moral entertainment in masque form within a Caroline play.