1. The practice of title page part division began to wane after The Conflict of Conscience, as observed by Gabriel Egan, ‘“As it was, is, or will be played”: Title-Pages and the Theatre Industry to 1610’, in From Performance to Print in Shakespeare’s England, ed. by Peter Holland and Stephen Orgel (Basingstoke: Palgrave Macmillan, 2006), pp. 92–110.
2. Tamara Atkin and Emma Smith, ‘The Form and Function of Character Lists in Plays Printed before the Closing of the Theatres’, Review of English Studies, 65 (2014), 647–672.
3. Marta Straznicky, ‘Introduction: Plays, Books, and the Public Sphere’, in The Book of the Play: Playwrights, Stationers, and Readers in Early Modern England, ed. by Marta Straznicky (Amherst and London: University of Massachusetts Press, 2005), pp. 1–19. See also, Privacy, Playreading, and Women’s Closet Drama, passim.
4. Tiffany Stern and Simon Palfrey, Shakespeare in Parts (Oxford: Oxford University Press, 2007), p. 4. See also, pp. 57–59. Stern has also written illuminatingly on these subjects in Rehearsal from Shakespeare to Sheridan (Oxford: Clarendon Press, 2000), especially pp. 22–123.
5. See, Martin Wiggins in association with Catherine Richardson, British Drama 1533–1642: A Catalogue, vol. 2 (Oxford: Oxford University Press, 2012), p. 830, p. 836.