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Textual Criticism and Deconstruction by G. Thomas Tanselle
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Archival Standards in Documentary Editing by Ronald J. Zboray
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Two Lollard Codices and Lollard Book-Production by Ralph Hanna III
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"The Final Revision of Bonduca": An Unpublished Essay by W. W. GREG by Grace Ioppolo
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The Problem of Semi-Substantive Variants: An Example from the Shakespeare-Fletcher Henry VIII by Fredson Bowers
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Font Analysis as a Bibliographical Method: The Elizabethan Play-Quarto Printers and Compositors by Adrian Weiss
 1. 
[section 1]
 2. 
I
 3. 
II
 4. 
III
 5. 
IV
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V
 7. 
VI
 8. 
VII
 9. 
Appendix I
 10. 
Appendix II
 11. 
Appendix III
 12. 
Appendix IV
 13. 
Appendix V
  
Notes
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British Plays, 1697-1737: Premieres, Datings, Attributions, and Publication Information by William J. Burling
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William Robinson, Contributor to Fielding's Champion by Frederick G. Ribble
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From the Monthly Magazine, and British Register: Notes on Milton, Pope, Boyce, Johnson, Sterne, Hawkesworth, and Prior by Arthur Sherbo
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The Manuscript of Wilkie Collins's No Name by William Baker
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Lawrence, Garnett, and Sons and Lovers: An Exploration of Author-Editor Relationship by Mark S. Sexton
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John Greenleaf Whittier in the Critic, 1881-1892 by Arthur Sherbo
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Gilbert Sorrentino's Revisions of The Sky Changes by David Leon Higdon and Robert F. Sheard
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Correlated Type Sizes and Names for the Fifteenth Through Twentieth Century by John Richardson Jr.
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More on the Compositors of the First Edition of Don Quixote, Part II by R. M. Flores

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Appendix IV

List of Exclusive S-face Discriminants in Fools CD, I, and EF

(CD, I, samples of each sort given first, followed by EF samples, separated by ";". The absence of a variant is indicated by [-]. [+] indicates too common to list.)

  • b1: C3v:2, C4v:19; [one, F2:29 "brest"].
  • b2: C1:2, C4v:19 "blowne be"; [-]. b3: C3:25 "booke"; [-].
  • g1: C1:18; [-]. g2: [-]; E2v:9, E4:9, E4v:10,18.
  • h1: C1:12 "how", 18 "he"; E2v:3 "Whic /h", E4:22 "fathers".
  • h2: C1:4, I3v:25 "this"; E2v:14 "heauen", F1v:16, "With".
  • h3: C1v:9 "him", I2v:11 "have"; [-].
  • p1: C1:7; [one, F1v:26 "ap /p/ oynt"]. p2: [-]; E1:2 "su /p/ pose".
  • t1: [+]; [-]. t2: [+]; [-]. t3: C1:9, C3:3, D4v:6, I2:16,17; [-].
  • u1: C1:6 "you" [2], new C1:16 "perceiue"; E1:5 "should" "jealousy".
  • u2: C1:6 "preserue", C2v:3 "much" [2nd]; E2v:16 "euery", bold 17 "musicke".
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    Page 148
  • u3: [-]; [-]. u4: C1:2 "doubt", 12 "Nature"; [-].
  • w1: C1:15 "Newes, 26 "would"; E1:9. w2:C1:22 "how"; [F4v:31?].
  • w3: C1:17, 22 "t'was", C1v:11; E1:4,6. w4: [-]; E4:19, F1:7,9.
  • z1: [-]; E1:32, E1v:2, F2v:3. z2: D2v:7,8; [-].
  • D1: [-]; E1v:23, E2:32. D2: C4v:14; [-].
  • S1: [-]; F2v:33. S2: I1v:7; [-].
  • ff1: C4v:25; [-]. ff1b: C1:33; [-].
  • ff2: I1:33, I3:7; F1:20, F3:22, F4:33. ff2b: C4v:12, D2v:6, D3:12; [-].
  • fl1: I2v:7, I3:21; F2:21. fl2: C3v:5, D2:25; E1:34, F3v:11. fl3: I3:26; [-].
  • ſh1: C1v:17, C3:25; [-]. ſh2: C1v:20; [-]. ſh3: C2v:12, C3:18, D3:28; [-].
  • ſl1: D2:9; F1:11. ſl2: D4:17, I1v:8; [-].
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