Indexed by persons, subjects, and play titles. Indexed by authors and nameless works. The format-more practical for the remedy of individual authors than for normal matters-doesn’t accommodate scanning. Participants who test constructive for CT, MG, NG, TP, and Tv can be offered treatment based on Kenyan treatment guidelines. Although typically lapsing into dense lists of authors and poems, the quantity is total an clever, well-organized, authoritative therapy of both major and minor writers. Concludes with two appendixes: entertainments at minor London venues (comparable to taverns, fairs, and minor playhouses); plays not produced. The session produced a four-lower demo featuring two Bo Diddley songs, “Diddley Daddy” and “Road-Runner”, in addition to Muddy Waters’s “I Wish to be Loved” and Jimmy Reed’s “Honey, What’s Wrong?”. If somebody thinks they absolutely don’t want to have sex with anyone over 65, it is absolutely their right to act (or refuse to act) on that desire.
Detroit: Gale, 1976. 374 pp. By the editors’ count, 81.6% of the entries are descriptively annotated. A useful complement, especially for its evaluations and coverage of studies by means of 1987, is David Nokes and Janet Barron, An Annotated Critical Bibliography of Augustan Poetry (Hemel Hempstead: Harvester; New York: St. Martin’s, 1989; 158 pp.; Annotated Critical Bibliogs.). A database that expands Jackson’s Annals of English Verse, 1770-1835: A Preliminary Survey of the Volumes Published (New York: Garland, 1985; 709 pp.; Garland Reference Lib. Hume, Robert D. “English Drama and Theatre, 1660-1800: New Directions in Research.” Theatre Survey 23.1 (1982): 71-100. PN2000.T716. A selective survey of “every substantial book and article” by way of 1973 (along with just a few from 1974). The emphasis is on English-language studies, and researchers should learn the prefatory list of subjects excluded before consulting the guide. Important recommendation on the usage of the dictionary is obtainable by Hume, “Theatre History, 1660-1800: Aims, Materials, Methodology” (M2385a). Additional strategies for research and important recommendation on using London Stage (M2370) and Highfill, Burnim, and Langhans, Biographical Dictionary (M2400), could be found in Hume, “Theatre History, 1660-1800: Aims, Materials, Methodology,” Players, Playwrights, Playhouses: Investigating Performance, 1660-1800, ed. There are omissions and errors (but nearly all of corrections and additions have come to gentle only due to the publication of the biographies); nonetheless, the Biographical Dictionary is undeniably a serious achievement that, along with London Stage (M2370), has stimulated a lot research.
A chronological checklist-keyed to London Stage (M2370)-of plays, pantomimes, operas, ballad-operas, farces, afterpieces, and other entertainments first carried out in London between 1700 and 1737. A typical entry contains “date of premiere, venue, title, creator(s) or attribution, sort of play (style), printer or publisher, date of publication, and notes . Entries-which record writer, title, editor or translator, publication data, edition if other than the first, format (i.e., measurement of page), number of volumes, pagination for single-quantity works, price, supply(s) of the quotation, libraries, shelf mark, and notes-could be searched by keyword (together with edition, format, and price), creator, title, date, publisher, place, and library. By ordering what is thought, the Register ought to stimulate the identification and publication of further material. Inevitably there are omissions, but the accuracy and detail of the descriptions (based almost completely on personal examination of multiple copies) make this an indispensable supply for textual research, publishing historical past, and the identification and location of editions. Six indexes: first strains; first editions (listed chronologically); imprints; bibliographical notes; epithets describing authors of anonymous books; topics (including forms and genres).