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The Prentice Hand in the Tragedies of the Shakespeare First Folio: Compositor E by Charlton Hinman
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Notes on the Text of T. S. Eliot: Variants from Russell Square by Robert L. Beare
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Some Textual Problems in Yeats by Russell K. Alspach
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The Accounts of the Wardens of the Stationers' Company by Cyprian Blagden
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Principles of Annotation: Some Suggestions for Editors of Shakespeare by Alice Walker
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The Printing of the Second Quarto of Romeo and Juliet (1599) by Paul L. Cantrell and George Walton Williams
 1. 
[section 1]
 2. 
I. The Composition
 3. 
II. The Nature of the Copy
  
Notes
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Quarto Copy for Q2 Romeo and Juliet by Richard Hosley
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The Shares of Fletcher and His Collaborators in the Beaumont and Fletcher Canon (II) by Cyrus Hoy
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An Initiation Into Initials by Franklin B. Williams, Jr.
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Notes on Keats's Letters by Hyder E. Rollins
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Colburn-Bentley and the March of Intellect by Royal A. Gettmann
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Twenty-Fours with Three Signatures by Kenneth Povey
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Watermarks and the Dates of Fifteenth-Century Books by Curt F. Bühler
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New Texts of John Donne by C. F. Main
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Lord Hailes's Contributions to Contemporary Magazines by Robert Hay Carnie
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The Early Editions and Issues of Scott's Border Antiquities by William B. Todd
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Coxe's A Description of Carolana (1722-1741) by Robert K. Turner, Jr.
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British Authorship of Ballads in the Isaiah Thomas Collection by Thomas L. Philbrick
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The Manuscript of Page's "Marse Chan" by John R. Roberson
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A Collation of F. Scott Fitzgerald's This Side of Paradise by Matthew J. Bruccoli

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THE RECENT PUBLICATION OF TWO EDITIONS OF Romeo and Juliet and the appearance of supporting articles by the several editors have suggested the pertinence of an examination of the printing of the second quarto of the play.[1] This quarto, the 'good' quarto, was printed in 1599 by Thomas Creede and is generally thought to depend in some manner on a Shakespearean manuscript. It is therefore the text from which all subsequent editions derive. In this article the writers will investigate two aspects of the 1599 quarto: the composition and the copy. The first section will discuss the compositors and the press-work; the second will offer some observations on the nature of the copy.

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