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Considers the possibility that Midsummer Night's Dream was the "play of Robin Goodfellow" acted at the court during Christmas 1603/1604 and mentioned by Dudley Carleton in his letter of 15 January 1604.
Discusses the "linguistic inventiveness" of Tempest.
Considers Juliet's line "O Romeo, Romeo, wherefore art thou Romeo" (Romeo and Juliet, 2.2) illogical and questions why editors do not emend it to "Montague." Expanded version published in Shakespeare Puzzles (q.v.).
Concludes that in The Gospel of Mark Rudolf Steiner implies that Edward de Vere wrote Shakespeare's works.
Identifies chapter 11 of the apocryphal Wisdom of Solomon as the source of "remembrances of things past" in Sonnet 30, then uses the underlinings in Edward de Vere's copy of the Geneva Bible to support the case for his authorship of Sonnets.
Finds evidence of Edward de Vere's authorship of Shakespeare's works in the dedications to Henry Wriothesley in Venus and Adonis and Rape of Lucrece.
Draws on Shakespeare to argue that revenge plays "explore carnivalesque concerns" because revengers discover their subjectivity in "pleasure-seeking, self-serving urges of unofficial cultures."
Finds evidence in Thomas Day's Wonderful Strange Sights Seen in the Element that points to 1583 as the date of "the first version of Shakespeare's Julius Caesar" and that supports the case for Edward de Vere's authorship.
In a review essay on several volumes treating art, includes an extended discussion of race as a moral and physical attribute in the physical representation of Othello.
Describes the experience of reading and staging Romeo and Juliet in a Kazakhstani College from an ethnographic point of view.