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“... John Marston, Thomas Middleton (most spectacularly in The Revenger’s Tragedy, 1606) and John Fletcher. In his Jew’s Tragedy, written in the 1620s, William Heminges even includes the line ‘To be, or not to be, I, there’s the doubt.’ Perhaps he thought that as the son of one of the compilers of the 1623 Shakespeare folio, which prints a more ...”

“... was thus immense. Hurd found only one setting by Gurney of his own words, where the musician Richard Carder, searching the archive in 1993, found 16. And as recently as 1996 a letter was unearthed, there since the beginning, enclosing 13 hitherto unknown poems of 1919. The pattern Kavanagh contrived from ‘upwards of 1700 items of verse of all ...”

“... subject to delays. The obscure origins of the University are carefully reconstructed. In Sir Richard Southern’s distinction, Oxford was not ‘created’ – it ‘emerged’. The contributors explain the significance of its geographical location and its importance as a centre of legal activity. They discuss how it separated from the town and the ...”

“... historical and autobiographical questions and then hares off to tackle the former. This means that Richard Evans had an untilled field before him. Based on unrestricted access to Hobsbawm’s personal archive, this is one of those doorstopper biographies that can get published in Britain even when the subject is a historian. It clocks in at 662 pages of text ...”

“... found in the pages of a book. Listen to this, for instance, from III Henry VI, a very early play. Richard, Duke of York has fatally lost a battle: … all my followers to the eager foe Turn back and fly, like ships before the wind, Or lambs pursu’d by hunger-starved wolves. His sons rally to him, and they counter-attack: With this we charg’d again; as ...”

“... long insisted on the regional variations in the patterns of the conflict, but by the time Anthony Fletcher has guided us round the counties of England, and Roger Howell round the towns, we must wonder whether any generalisations about local allegiances can ever be made again. Donald Pennington describes the burdens and the dislocation brought by the ...”

“... Twomblys, accidental Jackson Pollocks, accidental works by Eva Hesse or Louise Bourgeois or Richard Tuttle or Jean-Michel Basquiat. (See recent coup to the right: an accidental Philip Guston. Guston’s 1968 painting Boot is above, and below a CE artist’s picture, now in my collection, of an eight-fingered glove.) At such moments, you not only feel ...”