| Volume 6, Issue 1, Spring 1972 |
|
| Dryden and the Art of Transversion |
Leslie Howard Martin |
| Fifteenth-Century Flamboyant Style and The Castle of Perseverance |
Michael R. Kelley |
| The Limits of Violence: Camus's Tragic View of the Rebel |
Alfred Schwarz |
| Emblematic Technique in the Auto Sacramental: Calderón's No hay más fortuna que Dios |
Frederick E. Danker |
| Equity and Mercy in English Law and Drama (1405-1641) |
W. Nicholas Knight |
| Percy MacKaye: Community Drama and the Masque Tradition |
D. Heyward Brock and James M. Welsh |
| Volume 6, Issue 2, Summer 1972 |
|
| Episodic Structure in Four Tudor Plays: A Virtue of Necessity |
John W. Velz |
| Kabuki Today and Tomorrow |
Leonard C. Pronko |
| The Player As Director: An Approach to Character |
Leonard R. Mendelsohn |
| Seventeenth-Century Illustrations of Three Masques by Jonson |
John P. Cutts |
| "Peace" and "Unbar the Door": T. S. Eliot's Murder in the Cathedral and Some Stoic Forebears |
Edna G. Sharoni |
| The Bastard to the Time in King John |
Ronald Stroud |
| Volume 6, Issue 3, Fall 1972 |
|
| Nietzsche, Georg Brandes, and Ibsen's Master Builder |
Michael W. Kaufman |
| The Figure of Mahomet in the Towneley Cycle |
Michael Paull |
| John Marston's Histriomastix and the Golden Age |
George L. Geckle |
| Documentary Drama: Form and Content |
Clas Zilliacus |
| Volume 6, Issue 4, Winter 1972-73 |
|
| Schumann's Genoveva as German Romantic Drama |
Linda Siegel |
| Iconography and the Montecassino Passion |
Robert R. Edwards |
| The Changing Faces of Love in English Renaissance Comedy |
Ejner J. Jensen |
| The Skogsrå of Folklore and Strindberg's The Crown Bride |
Larry E. Syndergaard |
| Antonio's Revenge: "Never more woe in lesser plot was found" |
George L. Geckle |
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