Biographies & Memoirs

Bibliography

Primary Material from the Sixteenth and Seventeenth Centuries

Where no modern edition is indicated, I have consulted the work on Early English Books Online (EEBO). All quotations have been silently modernized. Most early books were not paginated. They did, however, carry “signatures” on some (though not all) pages to help the printer assemble them in the right order. Most of the books included here were in quarto format – a large sheet of paper had been folded to give four pages, eight sides. The first such folding might be marked intermittently A1, A2, A3, A4, on the front (recto) side of pages only; it was implicit that the reverse side was A1verso etc., often expressed A1v. The next folding would be B1, B2, and so on. Hence the perhaps unfamiliar “pagination” given in my text.

  1. Anon. (1609). Every Woman In Her Humour. London.
  2. Anon. (1605). The Fair Maid of Bristow. London.
  3. Anon. (1968). Gesta Grayorum, ed. Desmond Bland. Liverpool: Liverpool University Press.
  4. Anon. (1605). The London Prodigal. London.
  5. Anon. (1608). The Merry Devil of Edmonton. London.
  6. Anon. (1949). The Second Part of the Return to Parnassus. In The Three Parnassus Plays (1598–1601), ed. J. B. Leishman. London: Ivor Nicholson and Watson, Ltd.
  7. Anon. [Anthony Munday?] (1580). A Third Blast of Retreat From Plays and Theatres. London.
  8. Anon. (1602). Thomas, Lord Cromwell. London.
  9. Anon. (1599). A Warning for Fair Women. London.
  10. Barnes, Barnabe (1999). The Devil’s Charter, ed. Nick de Somogyi. London: Nick Hern Books.
  11. Birch, Thomas (1754). Memoirs of the Reign of Queen Elizabeth from the Year 1581 to her Death. 2 vols. London.
  12. Braithwait, Richard (1631). English Gentlewoman. London.
  13. Brome, Richard (2010). Richard Brome Online, gen. ed. Richard Cave. (http://www.hrionline.ac.uk/brome, 12 January 2017).
  14. Brome, Richard (2010a). The Antipodes, ed. Richard Cave. Modern Text. In Brome, 2010.
  15. Brome, Richard (2010b). The Court Beggar, ed. Marion O’Connor. Modern Text. In Brome, 2010.
  16. Buck [Buc], Sir George (1982 [1979]). A History of King Richard the Third, ed. A. N. Kincaid. Stroud: Sutton Publishing.
  17. Chamberlain, John (1939). The Letters of John Chamberlain, ed. N. E. McClure. 2 vols. Philadelphia: American Philosophical Society.
  18. Chapman, George (1874–5). The Works of George Chapman, ed. R. H. Shepherd and A. C. Swinburne, 3 vols. London: Chatto & Windus.
  19. Chettle, Henry (1592). Kind–Heart’s Dream. London.
  20. Collins, A. (1746). ed. Letters and Memorials of State. Written and Collected by Sir Henry Sydney, Sir Philip Sydney, Sir Robert Sidney, etc. 2 vols. London.
  21. Dekker, Thomas (1609). The Gull’s Horn‐Book. London.
  22. Dekker, Thomas (1612). An Apology for Actors. London.
  23. Dekker, Thomas (1953–61). Satiromastix. In Thomas Dekker: Dramatic Works, ed. Fredson Bowers. 4 vols. Cambridge: Cambridge University Press. 1.299–395.
  24. Edwards, Richard (2001). The Works of Richard Edwards, ed. Ros King. Manchester: Manchester University Press.
  25. Flecknoe, Richard (1653). Miscellania. London.
  26. Fletcher, John and Philip Massinger (1980). Sir John Van Olden Barnavelt, ed. T. H. Howard‐ Hill. Oxford: Malone Society Reprints.
  27. Fletcher, John and William Rowley (1647). The Maid in the Mill. Printed in Francis Beaumont and John Fletcher, Comedies and Tragedies. London. (Each play separately paginated.)
  28. Gascoigne, George (1576). The Princely Pleasures at the Court at Kenilworth. London.
  29. Golding, Arthur (1573). A Brief Discourse of the Late Murder of Master George Saunders. London.
  30. Greene, Robert (1964). Friar Bacon and Friar Bungay, ed. Daniel Seltzer. London: Edward Arnold.
  31. Greene, Robert (1592). The Third and Last Part of Conny‐Catching. London.
  32. Henslowe, Philip (2002). Henslowe’s Diary, ed. R. A. Foakes. 2nd ed. Cambridge: Cambridge University Press.
  33. Jonson, Ben (2012), The Cambridge Edition of the Works of Ben Jonson, gen. eds David Bevington, Ian Donaldson, and Martin Butler. 7 vols. Cambridge: Cambridge University Press.
  34. Jonson, Ben (2012a). The Alchemist. ed. Peter Holland and William Sherman. In Jonson 2012, 3: 541–710.
  35. Jonson, Ben (2012b). Bartholomew Fair. ed. John Creaser. In Jonson 2012, 4: 251–428.
  36. Jonson, Ben (2012c). Cynthia’s Revels, quarto version. ed. Eric Rasmussen and Matthew Steggle. In Jonson 2012, 2: 427–547.
  37. Jonson, Ben (2012d). The Devil is an Ass. ed. Anthony Parr. In Jonson 2012, 4: 465–609.
  38. Jonson, Ben (2012e). Eastward Ho!, by Jonson, Chapman and Marston. ed. Suzanne Gossett and W. David Kay. In Jonson 2012, 2: 529–640.
  39. Jonson, Ben (2012f). The Entertainment at Althorp. ed. James Knowles. In Jonson 2012, 2: 393–412.
  40. Jonson, Ben (2012g). Every Man In His Humour, quarto version. ed. David Bevington. In Jonson 2012, 1: 111–227.
  41. Jonson, Ben (2012h). Every Man In His Humour, folio version. ed. David Bevington. In Jonson 2012, 4: 617–728.
  42. Jonson, Ben (2012i). Every Man Out of His Humour. ed. Randall Martin. In Jonson 2012, 1.233–428.
  43. Jonson, Ben (2012j). Hymenaei. ed. David Lindley. In Jonson 2012, 2: 657–712,
  44. Jonson, Ben (2012k). Informations to William Drummond of Hawthornden. ed. Ian Donaldson. Jonson 2012, 5: 351–91.
  45. Jonson, Ben (2012l). Love Restored. ed. David Lindley. In Jonson 2012, 4: 197–212.
  46. Jonson, Ben (2012m) Sejanus. ed. Tom Cain. In Jonson 2012, 2: 195–391.
  47. Jonson, Ben (2012n). Songs from the Entertainment for the Merchant Taylors’ Company. ed. James Knowles. In Jonson 2012, 3: 217–25.
  48. Jonson, Ben (2012o). The Staple of News. ed. Joseph Loewenstein. In Jonson 2012, 6: 1–157.
  49. Jonson, Ben (2012p). Volpone. ed. Richard Dutton. In Jonson 2012, 3: 1–193.
  50. Langham, Robert (1575), A letter wherein part of the Entertainment unto the Queen’s Majesty at Kenilworth Castle in Warwickshire in this summer’s Progress 1575 is signified/from a friend officer attendant in court unto his friend, a citizen and merchant of London. London.
  51. Lodge, Thomas (1596). Wit’s Misery. London.
  52. Malone, Edmund, ed. (1790). The Plays and Poems of William Shakespeare. 10 vols. London: H. Baldwin.
  53. Marlowe, Christopher (1995). Dr Faustus and Other Plays. ed. David Bevington and Eric Rasmussen. World’s Classics. Oxford: Oxford University Press.
  54. Marston, John (1975a). The Dutch Courtesan. In Four Jacobean City Comedies, ed. Gāmini Salgādo. Harmondsworth: Penguin Books.
  55. Marston, John (1975b). The Malcontent. ed. G. K. Hunter. Revels Plays. Manchester: Manchester University Press.
  56. Marston, John (1978). Antonio’s Revenge. ed. W. Reavley Gair. Revels Plays. Manchester: Manchester University Press.
  57. Marston, John (1598). The Scourge of Villainy. London.
  58. Middleton, Thomas (1993). A Game at Chess. ed. T. H. Howard–Hill. The Revels Plays Manchester: Manchester University Press.
  59. Middleton, Thomas (2007). Thomas Middleton: The Collected Works, gen. eds Gary Taylor and John Lavagnino. Oxford: Clarendon Press.
  60. Middleton, Thomas (2007a). The Black Book. ed. G. B. Shand. In Middleton, 2007, 204–18.
  61. Middleton, Thomas (2007b). A Chaste Maid in Cheapside. ed. Linda Woodbridge. In Middleton, 2007: 907–58.
  62. Middleton, Thomas (2007c). A Mad World, My Masters. ed. Peter Saccio. In Middleton, 2007, 414–51.
  63. Middleton, Thomas (2007d). Macbeth. ed. Gary Taylor. In Middleton, 2007, 1165–1201.
  64. Middleton, Thomas (2007e). The Revenger’s Tragedy. ed. MacDonald P. Jackson. In Middleton, 2007: 543–93.
  65. Middleton, Thomas (2007f). The Witch. ed. Marion O’Connor. In Middleton, 2007, 1124–64.
  66. Nashe, Thomas (1592). Pierce Penniless, His Supplication to the Devil. London.
  67. Nashe, Thomas (1904–10), Works. ed. R. B. McKerrow. 5 vols. London: A. H. Bullen.
  68. Prynne, William (1633). Histriomastix. London.
  69. Puttenham, George (2007). The Art of English Poesy, ed. Frank Wigham and Wayne Rebhorn. Ithaca: Cornell University Press.
  70. Rainolds, Dr John (1599). Th’Overthrow of Stage‐Plays. Middelburg, Holland.
  71. Rowlands, Samuel (1600). The Letting of Humour’s Blood. London.
  72. Rowlands, Samuel (1617). The Bride. London.
  73. Shakespeare, William (1962). The Comedy of Errors, ed. R. A. Foakes. Arden 2. London: Methuen.
  74. Shakespeare, William (1974). The History of King Henry the Fourth, as revised by Sir Edward Dering, Bart., ed. G. W. Williams and G. B. Evans. Charlottesville: University of Virginia for the Folger Library.
  75. Shakespeare, William (1980). Romeo and Juliet, ed. Brian Gibbons. Arden 2. London: Methuen, 1980.
  76. Shakespeare, William (1986). The Complete Works. Gen. eds Stanley Wells and Gary Taylor. The Oxford Shakespeare. Oxford: Clarendon Press.
  77. Shakespeare, William (2006). As You Like It, ed. Juliet Dusinberre. Arden 3. London: Thomson Learning.
  78. Shakespeare, William (2009). The Complete Works of Shakespeare. ed. David Bevington. 6th ed. New York and London: Pearson Longman.
  79. Shakespeare, William and John Fletcher (1989). The Two Noble Kinsmen. ed. Eugene M. Waith. Oxford: Clarendon Press.
  80. Shakespeare, William and John Fletcher (1634). The Two Noble Kinsmen. London.
  81. Stow, John (1605). Annals, or a General Chronicle of England. London.
  82. Tayor, John (1638). Taylor’s Feast. London.
  83. Tilney, Edmund (1992). The Flower of Friendship: A Renaissance Dialogue Contesting Marriage, ed. Valerie Wayne. Ithaca: Cornell University Press.
  84. Webster, John (2009; 1974). 2nd ed. The Duchess of Malfi, ed. John Russell Brown. The Revels Plays. Manchester: Manchester University Press.
  85. Webster, John and Thomas Dekker (1607). Northward Ho! London.
  86. Wilkins, George (1607). The Miseries of Enforced Marriage. London.

Secondary Material

  1. Andrews, John F. (1987). “William Shakespeare.” In The Dictionary of Literary Biography, Vol. 62: Elizabethan Dramatists, ed. Fredson Bowers. Detroit: Gale Research. 267–353.
  2. Astington, John H. (1991). “A Drawing of the Great Chamber at Whitehall in 1601.” REED Newsletter 16:1, 6–11.
  3. Astington, John H. (1999). English Court Theatre, 1558–1642. Cambridge: Cambridge University Press.
  4. Astington, John H. (2009). “Court Theatre.” In Dutton, 2009: 307–22.
  5. Astington, John H. (2010). Actors and Acting in Shakespeare's Time: The Art of Stage Playing. Cambridge: Cambridge University Press.
  6. Astington, John H. (2014). “An Afterpiece and its Afterlife: a Jacobean Jig [with text].” English Literary Renaissance 44: 108–28.
  7. Baker, Oliver (1937). In Shakespeare’s Warwickshire. London: Simpkin Marshall & Co.
  8. Baldwin, T. W. (1927). The Organisation and Personnel of the Shakespearean Company. Princeton: Princeton University Press.
  9. Barker, R. (March 1, 2009). “‘Not One Thing Exactly’: Gender, Performance and Critical Debates over the Early Modern Boy‐Actress.” Literature Compass, 6, 2: 460–481.
  10. Barroll, J. Leeds. (1988). “A New History for Shakespeare and His Time.” Shakespeare Quarterly 39: 441–64.
  11. Barroll, J. Leeds (1991). Politics, Plague, and Shakespeare's Theater: The Stuart Years. Ithaca and London: Cornell University Press.
  12. Barroll, J. Leeds (2005). “Shakespeare and the Second Blackfriars Theater.” Shakespeare Studies 33: 156–70.
  13. Barroll, J. Leeds, Alexander Leggatt, Richard Hosley and Alvin Kernan (1975). Revels History of Drama in English. 3: 1576–1613. London: Routledge.
  14. Bate, Jonathan and Eric Rasmussen, gen. eds. (2013). William Shakespeare and Others: Collaborative Plays. The RSC Shakespeare. Basingstoke: Palgrave Macmillan.
  15. Bawcutt, N. W., ed. (1996). The Control and Censorship of Caroline Drama. Oxford: Clarendon Press. Cited parenthetically as Herbert.
  16. Bearman, Robert (2002). “‘Was William Shakespeare William Shakeshafte?’ Revisited.” Shakespeare Quarterly 53: 83–94.
  17. Beckerman, Bernard (1962). Shakespeare at the Globe 1599–1609. New York: Macmillan.
  18. Bednarz, James P. (2001). Shakespeare and The Poets’ War. New York: Columbia University Press.
  19. Beier, A. L. (1985), Masterless Men: The Vagrancy Problem in England 1560–1640. London: Methuen.
  20. Bentley, G. E. (1941–1968). The Jacobean and Caroline Stage. 7 vols. Oxford: Clarendon Press.
  21. Bentley, G. E. (1984). The Profession of Player in Shakespeare’s Time, 1590–1642. Princeton: Princeton University Press.
  22. Bergeron, David (2003; 1971). English Civic Pageantry 1558–1642, 2nd ed. Tempe: Arizona State University Press.
  23. Berry, Herbert (1986). The Boar’s Head Playhouse. Washington: Folger Shakespeare Library.
  24. Berry, Herbert (2002). “Playhouses.” In A Companion to Renaissance Drama. ed. Arthur Kinney. Oxford and Malden, MA: Blackwell. 147–62.
  25. Bly, Mary (2000). Queer Virgins and Virgin Queans on the Early Modern Stage. Oxford: Oxford University Press.
  26. Bly, Mary (2009). “The Boy Companies 1599–1613.” In Dutton 2009, 136–50.
  27. Boddy, G. W. (1976). “Players of Interludes in North Yorkshire in the Early Seventeenth Century.” In North Yorkshire County Records Office Publications, 10, Journal 3: 95–130.
  28. Brown, Pamela A. and Peter Parolin, eds (2005). Women Players in Early Modern England, 1500–1660. Aldershot: Ashgate.
  29. Bourus, Terri (2014). Young Shakespeare’s Young Hamlet: Print, Piracy and Performance. New York: Palgrave Macmillan.
  30. Bowsher, Julian M. C. (2007). “The Rose and Its Stages.” Shakespeare Survey 60: 36–48.
  31. Bowsher, Julian M. C. (2012). Shakespeare’s London Theatreland. London: Museum of London Archaeology.
  32. Bowsher, Julian and Pat Miller. (2009). The Rose and the Globe: Playhouses of Shakespeare’s Bankside, Southwark: Excavations, 1988–90. London: Museum of London Archaeology.
  33. Bradbrook, M. C. (1976). The Living Monument: Shakespeare and the Theatre of His Time. Cambridge: Cambridge University Press.
  34. Bullough, Geoffrey (1957–75). Narrative and Dramatic Sources of Shakespeare. 8 vols. London: Routledge and Kegan Paul.
  35. Butler, Martin (1992). “Ecclesiastical Censorship of Early Modern Drama: The Case of Jonson’s The Magnetic Lady.” Modern Philology 89: 469–81.
  36. Calderwood, David (1842–49). Historie of the Kirk of Scotland. 8 vols. Edinburgh: Wodrow Society.
  37. Calendar of State Papers, Domestic: Elizabeth 1598–1601 (1870). ed. Mary Anne Everett Green. London: HMSO.
  38. Callaghan, Dympna (2000). Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage. London: Routledge.
  39. Cerasano, Susan P. (2004a). “Alleyn, Edward.” (1566–1626). Oxford Dictionary of National Biography, Oxford University Press; online edn, Jan 2008 [http://www.oxforddnb.com.proxy.lib.ohio–state.edu/view/article/398, accessed 7 Jan 2014].
  40. Cerasano, Susan P. (2004b). “Henslowe, Philip (c.1555–1616).” In The Oxford Dictionary of National Biography, Oxford University Press; online edn, Jan 2008. [http://www.oxforddnb.com.proxy.lib.ohio–state.edu/view/article/12991, accessed 4 Feb 2014].
  41. Cerasano, Susan P. and Marion Wynne–Davies, eds (1996). Renaissance Drama by Women. London: Routledge.
  42. Chambers, E. K. (1923). The Elizabethan Stage. 4 vols. Oxford: Clarendon Press. Cited parenthetically as ES.
  43. Chambers, E. K. (1930). William Shakespeare: A Study of Facts and Problems. 2 vols. Oxford: Clarendon Press.
  44. Chernaik, Warren (2014). “Shakespeare as Co‐Author: The Case of 1 Henry VI.” Medieval and Renaissance Drama in England 27: 192–220.
  45. Clegg, Cyndia Susan (1997). “‘By the Choice and Inuitation of Al the Realm’: Richard II and Elizabethan Press Censorship.” Shakespeare Quarterly 48: 432–48.
  46. Cohen, Ralph Alan (2009). “‘The Most Convenient Place’: The Second Blackfriars Theater and Its Appeal.” In Dutton, 2009: 209–24.
  47. Collins, Eleanor (2007). “Richard Brome’s Contract and the Relationship of Dramatist to Company in the Early Modern Period.” Early Theatre 10: 116–28.
  48. Collins, Eleanor (2013). “Ghosts in the Archive: Edmond Malone, Craven Ord, and the Missing Texts of Henry Herbert’s ‘office‐book.’” Critical Quarterly 55: 30–41.
  49. Cook, Ann Jennalie (1981). The Privileged Playgoers of Shakespeare’s London, 1576–1642. Princeton: Princeton University Press.
  50. Crockett, Peter (2009). “Performing the Queen’s Men.” In Ostovich et al., 2009, 229–42.
  51. Cutts, John P. (1966). “New Findings with Regard to the 1624 Protection List.” Shakespeare Survey 19: 101–7.
  52. Dawson, Anthony and Paul Yachnin (2001). The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate. Cambridge: Cambridge University Press.
  53. Dibdin, James C. (1888). Annals of the Edinburgh Stage. Edinburgh: Cameron.
  54. Donaldson, Ian (2011). Ben Jonson: A Life. Oxford: Oxford University Press.
  55. Dusinberre, Juliet (2003). “Pancakes and a Date for As You Like It.” Shakespeare Quarterly 54: 371–405.
  56. Dutton, Richard (1988). “Hamlet, An Apology for Actors and the Sign of the Globe.” Shakespeare Survey 41: 35–43.
  57. Dutton, Richard (1991). Mastering the Revels: the Regulation and Censorship of English Renaissance Drama. Basingstoke: Macmillan.
  58. Dutton, Richard (1998). “‘Discourse in the Players, But No Disobedience’: Sir Henry Herbert’s Problems with the Players and Archbishop Laud, 1632–34.” Ben Jonson Journal 5: 37–62.
  59. Dutton, Richard (2000). Licensing, Censorship and Authorship in Early Modern England. London: Palgrave.
  60. Dutton, Richard (2006). “The St Werburgh Street Theater, Dublin.” In Adam Zucker and Alan B. Farmer, eds. Localizing Caroline Drama: Politics and Economics of the Early Modern English Stage, 1625–1642. New York: Palgrave Macmillan. 129–56
  61. Dutton, Richard ed. (2009). The Oxford Handbook of Early Modern Theatre. Oxford: Oxford University Press.
  62. Dutton, Richard (2016). Shakespeare, Court Dramatist. Oxford: Oxford University Press.
  63. Dutton, Richard, Alison Findlay and Richard Wilson, eds (2004). Region, Religion and Patronage: Lancastrian Shakespeare. Manchester: Manchester University Press.
  64. Eccles, Mark (1961). Shakespeare in Warwickshire. Madison: University of Wisconsin.
  65. Eccles, Mark (1993). “Elizabethan Actors IV: S to End.” Notes and Queries 238: 165–76.
  66. Edmond, Mary (2004). “Burbage, James (c.1531–1597).” Oxford Dictionary of National Biography. Oxford University Press, 2004; online edn, Jan 2008 [http://www.oxforddnb.com.proxy.lib.ohio–state.edu/view/article/3950, accessed 4 Feb 2014].
  67. Egan, Gabriel (1997). “The Situation of the ‘Lords Room’: A Revaluation.” The Review of English Studies 48: 297–309.
  68. Egan, Gabriel (2009). “The Theatre in Shoreditch, 1576–1599.” In Dutton, 2009, 168–85.
  69. Elliott, John R. Jr. and Alan H. Nelson (University); Alexandra F. Johnston and Diana Wyatt (City) (2004). Records of Early English Drama: Oxford. 2 vols. Toronto: University of Toronto Press.
  70. Erne, Lukas (2003). Shakespeare as Literary Dramatist. Cambridge: Cambridge University Press.
  71. Evans, Robert C. (1989). Ben Jonson and the Poetics of Patronage. Lewisburg, PA: Bucknell University Press.
  72. Feuillerat, Albert (1908). Documents Relating to the Office of the Revels in the Time of Queen Elizabeth. Leuven: Ustpruyst.
  73. Findlay, Alison and Stephanie Hodgson‐Wright, with Gweno Williams (2000). Women and Dramatic Production, 1550–1700. Harlow: Pearson.
  74. Fisher, Will (2006). Materialising Gender in Early Modern English Culture. Cambridge: Cambridge University Press.
  75. Foakes, R. A. (1993). “The Image of the Swan Theatre.” In Andre Lascombes (ed.), Spectacle and Image in Renaissance Europe: Selected Papers of the XXXIInd Conference at the Centre d’Études Supérieures de la Renaissance de Tours, 29 June–8 July 1989. Leiden: E. J. Brill. 337–57.
  76. Foakes, R.A. ed. (2002). Henslowe’s Diary. 2nd ed. Cambridge: Cambridge University Press. Cited parenthetically as Henslowe.
  77. Foakes, R. A. (2004). “Henslowe’s Rose/Shakespeare’s Globe.” In From Script to Stage in Early Modern England. Eds Peter Holland and Stephen Orgel. Basingstoke: Palgrave. 11–31.
  78. Freedman, Barbara (1994). “Shakespearean Chronology, Ideological Complicity, and Floating Texts: Something is Rotten in Windsor.” Shakespeare Quarterly 45: 190–210.
  79. Galloway, David, ed. (1984). Records of Early English Drama: Norwich 1540–1642. Toronto: University of Toronto Press.
  80. George, David, ed. (1991). Records of Early English Drama: Lancashire. Toronto: University of Toronto Press.
  81. George, David (2004). “The Playhouse at Prescot and the 1592–94 Plague.” In Dutton, Findlay and Wilson, 2004: 227–42.
  82. Gibson, James M. ed. (2002). Records of Early English Drama, Kent: The Diocese of Canterbury, vol. 1. Toronto: University of Toronto.
  83. Gillies, John ed. (1998). Playing the Globe: Genre and Geography in English Renaissance Drama. Madison, NJ: Fairleigh Dickinson University Press.
  84. Graham, Elspeth and Rosemary Tyler (2011). “‘So Unbridled & Badde an Handfull of England’: The Social and Cultural Ecology of the Elizabethan Playhouse in Prescot.” In Mike Benbough‐Jackson and Sam Davies, eds, Merseyside: Culture and Place. Newcastle: Cambridge Scholars Publishing. 109–39.
  85. Graves, R. B. (2009). “Lighting.” In Dutton 2009, 528–42.
  86. Greenfield, Jon (2007). “Reconstructing the Rose: Development of the Playhouse Building between 1587 and 1592.” Shakespeare Survey 60: 23–35.
  87. Greenfield, Peter H. (1983). “Entertainments of Henry, Lord Berkeley, 1593–4 and 1600–05.” Records of Early English Drama Newsletter 8: 1, 12–24.
  88. Greenfield, Peter H. (1988). “Professional Players at Gloucester: Conditions of Provincial Performing.” In C. E. McGee, ed. Elizabethan Theatre X. Port Credit, Ontario: P. D. Meany, 73–92.
  89. Greenfield, Peter H. (2009). “Touring.” In Dutton 2009, 292–306.
  90. Greenstreet, James (1889). “The Whitefriars Theatre in the Time of Shakespeare.” In New Shakespeare Society Transactions. Serial 1, Part 3. London: Kegan Paul, Trench, Trübner: 269.
  91. Greg, W. W. (1907). Henslowe Papers. London: A. H. Bullen.
  92. Greg, W. W. (1931). Dramatic Documents from the Elizabethan Playhouses. Stage Plots: Actors’ Parts: Prompt Books. 2 vols. Oxford: Clarendon Press.
  93. Grose, Francis (1808). The Antiquarian Repertory. 2 vols. London.
  94. Gurr, Andrew (1993). “The Chimera of Amalgamation.” Theatre Research International: 85–93.
  95. Gurr, Andrew (1996). The Shakespearian Playing Companies. Oxford: Clarendon Press.
  96. Gurr, Andrew (2002). “Privy Councilors as Theatre Patrons.” In White and Westfall, 2002, 221–45.
  97. Gurr, Andrew (2004a). The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press.
  98. Gurr, Andrew (2004b; 1987). Playgoing in Shakespeare’s London. 3rd ed. Cambridge: Cambridge University Press.
  99. Gurr, Andrew (2005). “Henry Carey's peculiar letter.” Shakespeare Quarterly. 56: 51–75.
  100. Gurr, Andrew (2007). “The Work of Elizabethan Plotters, and 2 The Seven Deadly Sins.” Early Theatre 10: 67–87.
  101. Gurr, Andrew (2009; 1970, 1992). The Shakespearean Stage, 1574–1642, 3rd ed. Cambridge: Cambridge University Press.
  102. Gurr, Andrew and Mariko Ichikawa. (2000). Staging in Shakespeare’s Theatres. Oxford: Oxford University Press.
  103. Haaker, Ann (1968). “The Plague, the Theatre and the Poet.” Renaissance Drama n.s. 1: 296–306.
  104. Hackett, Helen (2012). “‘As the diall hand tells ore’: the Case for Dekker, not Shakespeare, as Author.” Review of English Studies 63: 34–57.
  105. Harbage, Alfred (1941). Shakespeare’s Audience. New York: Columbia University Press.
  106. Harington, Sir John (1960). The Metamorphosis of Ajax, ed. Elizabeth S. Donno. New York: Columbia University Press.
  107. Hattaway, Michael (2009). “Dating As You Like It and the Problems of ‘As the Dial Hand Tells O’er’.” Shakespeare Quarterly 60: 154–67.
  108. Herbert, Sir Henry: see Bawcutt 1996.
  109. Hildy, Franklin (1993). “If You Build It They Will Come.” In The Design of the Globe, 2nd ed. Ed. Margaret Shewring, J. R. Mulryne and Andrew Gurr. London: International Shakespeare Globe Centre: 89–106.
  110. Honigmann, E. A. J. (1985). Shakespeare: The “Lost Years.” Manchester: Manchester University Press.
  111. Honigmann, E. A. J. and Susan Brock, eds (1995). Playhouse Wills, 1558–1642: An Edition of Wills by Shakespeare and His Contemporaries in the London Theatre. Manchester: Manchester University Press.
  112. Hosley, Richard (1957). “The Gallery over the Stage in the Public Playhouse of Shakespeare's Time.” Shakespeare Quarterly 8: 15–31.
  113. Hotson, Leslie (1931). Shakespeare versus Shallow. London: Nonesuch Press.
  114. Hotson, Leslie (1954). The First Night of Twelfth Night. New York: Macmillan.
  115. Hotson, Leslie (1960). Shakespeare’s Wooden O. London: Macmillan.
  116. Ingram, William (1992). The Business of Playing: The Beginnings of the Adult Professional Theatre in Elizabethan London. Ithaca: Cornell University Press.
  117. Ingram, William (1999). “The Economics of Playing.” In A Companion to Shakespeare, ed. David S. Kastan. Oxford: Blackwell. 313–27.
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