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In noting that a number of commentators, struggling with first four lines of Sonnet 125, allow for the possibility that Shakespeare did once bear the canopy, discusses canopies in order to argue that Shakespeare would never have been chosen to carry one. Reprinted in Critical Survey of Shakespeare's Sonnets (q.v.).

Discusses how Isabella's decision in Measure for Measure to resist vengeance in condemning Angelo because of Mariana's plea on his behalf epitomizes the early modern use of casuistry.

Examines how Shakespeare negotiated his ambition for exclusivity while responding to popularity among his readers, focusing on the issue of popularity in terms of literary, social, and economic status.

Using plagiarism software to uncover shared linguistic strings between Arden of Faversham and the Shakespeare canon, finds textual evidence that Shakespeare might share the play's authorship.

Examines how the editorial tradition of Titus Andronicus can be challenged in the scene division of the second act.

Argues that the rhymes in Pericles can prove the case for George Wilkins's authorship of the play, especially in the first two acts.

Uses metrical analysis to defend the traditional allocation of the shares of Shakespeare and John Fletcher in Henry VIII. See reply by Thomas Merriam, "A Reply to 'All Is True or Henry VIII: Authors and Ideologies'" in Notes and Queries 61, no. 2 (2014): 253-56.

Argues that All's Well That Ends Well was probably written in the early months of 1605, immediately after Measure for Measure.

Focuses on the representation of "Cataian" in Twelfth Night, highlighting the dominantly positive image of Cathay and China in early modern English texts.

Focuses on Richard's cry for a horse in Richard III, relating it to the play's debate about relying either on God's providence or on human strength.