We describe the factors affecting the electron transfer process between the different components of a self-assembled mixed monolayer. The system is comprised of mixed monolayers containing aminoalkanethiols (AMATs) and ferrocenylalkanethiols (FATs) of variable chain lengths. We study the effects of different ratio of the two mixed monolayer components on the permeability of the monolayer towards a Ru(NH3)6C13 redox probe. In order to study the electrical communication between the enzyme and the mediator molecules, the enzyme glucose oxidase (GOx) was attached to the AMAT sites to create a biosensor device. The relative efficiency of a biosensor of each chain-length combination of FAT and AMAT was examined. In light of this comparison, we consider the critical factors for efficient electron transfer between the ferrocene mediator and the GOx redox active site immobilized as part of the surface-confined system. We find that the biosensor response is greatest when the enzyme and the FATs are attached to the surface with different alkane chain lengths. We also find strong evidence for the existence of domains of FAT and AMAT in the mixed monolayer system.

Everie Woman in her Humor has received very little critical attention since J. Quincy Adams' study of the play in its relation to The Dumb Knight in 1913. There he stated:

Nicholas Breton, the self-avowed author of The Strange Fortunes and the attributed author of The Arbor, has received little tribute for his lyrical poetry, and until very recently only one instance of his having inspired a musician to set his poetry had been pointed out, namely ‘Phillida and Corydon’ from The Honorable Entertainmentgiuen to the Queene Majestie in Progresse, at Eluetham in Hampshire, by the Right Honorable the Earle of Hertford, 1591. It is the purpose of this brief article to bring to the notice of scholars the existence of settings of two other lyrics ascribed to Breton, settings which are fully worth recording for their musical value while affording the only other known texts of Breton lyrics with certain slight variants.

Whilst musical imagery is to some extent resorted to in attempts by Elizabethan writers to define madness, the efficacy of music as sound is also sought for resolving the discord in man's microcosmos. Music's power over the emotions has been praised throughout all civilized ages. The best known example is, perhaps, Alexander who ‘was sometimes excited by it so passionately, that he was forced almost against his will to leave the banquet table and rush to arms; and when the musician changed the temper of the tune, he grew calm again, lay aside his arms, and returned to the banquet table'. Another stirring example is that of King Saul whose madness is spoken of as the result of possession by an evil spirit for his sins before God.

There is such a paucity of information about Henry Shirley and his one extant play that one hesitates to add anything to the present state of our knowledge lest one be accused of abusing Bullen's confession that ‘Henry Shirley's claim to attention is not a very pressing one’. Bullen's apologia for presenting Henry Shirley's work in that ‘yet there is a certain dignity of language in this old play’ must be my excuse, too, for this attempt to redeem something of the play from ‘utter oblivion’ and my more specific warrant hales from the last words of Bullen's introduction—‘the songs, too, are smoothly written’.

The songs do in fact constitute the major part of the play's quite extensive use of thematic music connected with the supernatural ascent and descent of angels to comfort and exhort the much beleaguered Christians.

It is not ordinarily wise to draw readers’ attention to further developments of Shakespearean themes unless such developments may be said in some sense to throw interesting light on Shakespeare's particular treatment, or because the developments have worth-while intrinsic merits which may owe their very origin to the vogue sustained if not actually created by him. I should like to bring a thematic development before readers so that they may judge for themselves whether or no it fulfills either or both conditions as well as contributing to the variety of the analogues of the ‘bed-trick’ which has already been pointed out by scholars not necessarily claiming a possible source for Shakespeare but indicating the prevalence of such story material.

The ‘gentle’ Dametas, on seeing the Bear, thrust himself into a bush as far as he could go and, on Dorus' pushing him and bidding him be of good courage, thought Doras was the Bear and was with difficulty persuaded that the Bear was indeed dead. Then, like ‘a man of Revengefull spirite, hee gave the deade body many a wounde, swearing by muche yt was pitty, suche Beastes shoulde bee suffered in a Comon Welthe’. Finally, with immoderate joy ‘as before with feare (for his harte was framed never to bee withoute a passyon) hee went by his fayre charge, daunsing, pyping, and singing, till they all come to the presence of the carefull Company’, so near ‘as hee might bee hearde of the Duke’.

There appears in the Stationers’ Register for 26 July 1591 the following entry:

from which it has been generally assumed that a play by Peele called The Hunting of Cupid was licensed. Only E. K. Chambers seems to have expressed any doubt whatsoever about its being a play. Certainly W. W. Greg, who carefully collected the known fragments of The Hunting of Cupid, was definitely of the opinion that they represented parts of a ‘play of a pastoral or mythological nature’, and thought it natural for fragments, the only part of the work extant, to be printed by the Malone Society in close succession to the society's printing of Peele's Arraignment of Paris.

The Coventry carol ‘Lully lulla yu littell tine child’, sung by the women in The Taylors & Shearmens Pageant to their babes before Herod's murderous soldiers burst in on them, is now well known and deservedly popular. It was first copied out by Thomas Sharp in 1825 from a manuscript copy of the pageant ‘newly correcte by Robert Croo’, who is said at the end to have finished his work on March 14, 1534. The manuscript was unfortunately destroyed in the disastrous fire at Birmingham City Reference Library in 1879, and thus Sharp's edition of the play has assumed considerable importance. Sharp's copying down of the musical score for ‘Lully lulla yu littell tine child’ presents no editorial difficulties; he was probably impressed by its immediate appeal and copied carefully from the manuscript. ‘Lully lulla’ has duly found a place in The Oxford Book of Carols.