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Argues that Anthony Munday's account of his espionage expedition to Rome, published as The English Roman Life, and his portrayal of Jewish alienation might have provided a historical basis for Shakespeare's portrayal of Shylock in Merchant of Venice.
Proposes that Revelations 14:13 acts as a "pivot of scriptural influence" for the "apocalyptical ethos and idioms" of Hamlet.
Argues that John Manningham's Diary suggests he attended a 1602 production of Twelfth Night at Blackfriars Theatre.
Contends with Margreta de Grazia's and Harold Bloom's reading of Hamlet by demonstrating how they propel the misguided Romantic instinct to set human action in the context of a creative imagination with no limits; suggests that one can begin to consider the supplementary text of Hamlet's implicit philosophical assertions by dispelling the idea of textual machinery. English summary, 22.
As an introduction to discussing love and desire in Ralph Ellison's works, discusses how Shakespeare's Sonnets portray desire as embodying birth, reproduction, and population.
Using Alvin Plantinga's free will defense, argues that if Shakespeare's characters in King Lear have significant freedom in their moral choices then claims that the play represents Shakespeare's display of God's nonexistence are false. English summary, 314.
Discusses the meaning and history of the fool's little discussed sexual innuendo involving "snatching" (quick copulation) in the First Quarto of King Lear.
Argues that Shakespeare's authorship of the Additional Passages, first printed in the 1602 quarto of Thomas Kyd's Spanish Tragedy, can be proven by various characteristic spellings of words which imitate spellings found in the part of Sir Thomas More attributed to Shakespeare.
Examines how the rise of capitalism in the early seventeenth century influenced theatrical depictions of usury, interest, and avarice. Argues that in Merchant of Venice Shylock finds divinity in gold and that the protection of wealth becomes a moral imperative. Also available: http://hdl.handle.net/1866/6178.
Analyzes song in early modern texts, contending that Hamlet's Ophelia is a "disruptive, non-scriptive versifier" whose crazed songs amount to extreme poetry.