Queries between 7 January and 30 September 1950 pointed out
parallels between passages in I and II Tamburlaine and the
Homilies and Biblical Prophetic Books, and suggested that the
audiences sensed the ironic humour of the parallels.

There was a successful revival of both parts of Tamburlaine in
a condensed form at the Old Vic theatre in September 1951,
with Donald Wolfit in the titular part.

Leo Kirschbaum in Modern Language Quarterly ( March 1946)
made a contribution to the debate, outlined in my appendix to
Chapter IX, pp. 148-50, whether the Friar scenes in Act iv, ii
and iii are by Marlowe or were added by Thomas Heywood.
Kirschbaum holds that when Aaron in Titus Andronicus declares:

Oft have I dig'd up dead men from their graves;
And set them upright at their deare friends dore,

he has in mind the episode in The Jew of Malta, where Barabas
and Ithamore set the dead friar Bernadine upright against the door.
In that case the scenes belong to the original version of the play.

In an appendix to Chapter X of Christopher Marlowe I printed
'the Collier Leaf' and noted the defence of its authenticity by
J. Quincy Adams (pp. 168-71). His view has now received addi-
tional support from J. M. Nosworthy in an article in The Library
( Sept.-Dec. 1945), who gives reasons for doubting that Collier
could have forged the leaf, and who points to the parallelism
between some distinctive words and phrases in it and in Marlowe's
undoubted works. Nosworthy further argues that it is probably
in Marlowe's own hand.

In Chapter X, p. 153, in accordance with A. H. Bullen and
H. S. Bennett in their editions of the play, I mentioned as the
source of the earlier scenes Book X of Commentaries of the Civill
Warres in France by Jean de Serres translated by Thomas Timme.
But Paul H. Kocher pointed out in P.M.L.A. June, 1941, that
while Books I-IX and XI-XII of the Commentaries are by de
Serres, Book X, with a separate heading and pagination, is a reprint
of an English version (probably by Timme) of De Furoribus Gallicis
by 'Ernest Varamund of Freseland', a pseudonym for a Huguenot
lawyer, Frangois Hotman. Furthermore, in Modern Language
Quarterly ( June 1947) he stated that as sources for the later scenes

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