Taylor & Wells: The Author An Experimenter.

[elizabeth]

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I was staring at Farey's list taken from
Elliot and Valenza and was amazed by
the consistency of the incremental
changes from play to play. Only one
play, Antony and Cleopatra, deviates from
the order.

I want to make the point that this is
probably what Wells and Taylor were
referring to when they wrote that the
playwright was making small, systematic
incremental experiments from play to play
(endings are not the only experiments
this writer engaged in, he was systematically experimenting with other
elements of verse
as well).

I think Farey's argument is really bad
news for Oxfordians and that there's
probably more bad news to come.

23 Love's Labour's Lost (Meres)
23 Midsummer Night's Dream (Meres)
25 1 Henry VI (Not in LCM repertoire)
25 3 Henry VI (Not in LCM repertoire)
25 Titus Andronicus (Meres)
25 Romeo & Juliet (Meres)
26 2 Henry VI (Not in LCM repertoire)
26 Taming of the Shrew (Not in LCM repertoire)
28 Comedy of Errors (Meres)
32 Richard II (Meres)
32 King John (Meres)
33 Richard III (Meres)
33 Two Gentlemen of Verona (Meres)
33 Merry Wives of Windsor
37 Julius Caesar
38 Much Ado About Nothing
40 Merchant of Venice (Meres)
40 Twelfth Night
41 1 Henry IV (Meres)
41 2 Henry IV
41 As You Like It
41 Troilus & Cressida
41 Othello
42 Henry V
42 Hamlet
46 Timon of Athens (after 1604)
50 Measure for Measure
50 King Lear (after 1604)
51 All's Well that Ends Well
53 Macbeth (after 1604)
54 Pericles* (after 1604)
58 Antony & Cleopatra (after 1604)
54 Coriolanus (after 1604)
67 Cymbeline (after 1604)
68 The Tempest (after 1604)
69 Winter's Tale (after 1604)
71 Two Noble Kinsmen* (after 1604)
76 Henry VIII* (after 1604)

*Those parts generally attributed to Shakespeare.