For the past week, I have perused the PDF versions of Anna Faktorovich's William Percy's 'Aphrodisia' (British Renaissance Re-Attribution and Modernization Series ; volume 6) as well as volumes 1 & 2 of the BRRAMS. Please, permit this reviewer a wee bit more time to dissect this fascinating study of disguise, identity, self-fashioning, metamorphosis, and authorship.

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My initial objective for this review is 'The Aphrodisia' by William Percy (1574 – 1648), volume six of the publisher series British Renaissance Re-Attribution and Modernization (BRRAM) compiled by Professor Anna Faktorovich, editor and publisher of Anaphora Literary Press. First, however, I must “review” (actually, look at for the first time) the first title in BRRAM series, entitled “The Re-Attribution of the Renaissance Corpus” which comprises 700 pages in two volumes. Topical outline of which follows:

List of Figures [Images] – pp. 5 – 6

I. Methodologies of Re-Attribution – pp. 7 – 122

[a.] Introduction: The Ghostwriting Workshop Behind the British Renaissance

[b.] A New Computational-Linguistics Authorial-Attribution Method Described and Applied to the British Renaissance

[c.] An Impressionist Overview of the British Renaissance Ghostwriting Workshop

[d.] Attribution Clues in Contemporary Allusions to “William Shakespeare”

[e.] The Patterns Distinguishing the Six Authorial Signatures of the British Renaissance Ghostwriting Workshop: The Case Against Shakespeare

[f.] Structural Divergences Between the Established “William Shakespeare” Canon and the New Re-Attributions

II. Birth of the British Theaters – pp. 123 – 210

[a.] “Philip Henslowe's” Financial Schemes as a Theater Landlord

[b.] Manipulation of Theatrical Audience Size: Nonexistent Plays and Murderous Lenders

[c.] Crime and Corruption Behind the Ghostwriting Workshop

[d.] Masters and Minstrels in the Renaissance Theater: Patronage for Propaganda

III. William Byrd – pp. 211 – 243

[a.] Rhythm Music and Monopoly

[b.] Amidst William Byrd's Fraudulent Pseudonyms and Piracy Litigations: “William Shakespeare” ; "Thomas Morley” ; and “Thomas Lodge”

IV. Richard Verstegen – pp. 244 – 297

[a.] The Secret Secretary to Elizabeth I and James I

[b.] The Secret Secretary to Aristocrats

[c.] Between the “Marprelate War” and the 'King James Bible'

V. Gabriel Harvey – pp. 298 – 340

[a.] From Ghostwriting Elizabeth I's Letters and Spenser's 'Fairie Queen' to Debtor's Prison

[b.] After Academia: “William Shakespeare” ; “R.” ; and Other Bylines of Unlikely “Authors”

VI. Joshua Sylvester – pp. 341 – 442

[a.] The Case for Reattributions to a Court Poet

[b.] Circuitous Evidence of Ghostwriting

[c.] Aristocratic and Royal Sponsors: “Robert” and “Mary Sydney” and “Henry Constable”

[d.] By Any Other Name : “William Shakespeare” ; “George Peel” and “Joseph Hall”

[e.] The Ostracizing of the Jew in Renaissance England: The Disguise of the Anonymous Writer

VII. William Percy – pp. 443 – 526

[a.] The Tragedian “Shakespeare”

[b.] Plot Construction and 'Pericles' ; “Shakespeare's” Strange Comedy

[c.] Attribution Case Studies

[d.] “William Shakespeare” Apocrypha

VIII. Benjamin Jonson – pp. 527 – 581

[a.] The Comedian “Shakespeare”

[b.] Attributing 'Arden of Faversham'

[c.] The Ghostwriting Workshop's Subversive Autobiography: The Epigrams to “Fletcher Beaumont's” 'Comedies and Tragedies'

IX. Studies in Exclusion of Potential Authorial Bylines – pp. 582 – 648

[a.] George Chapman : De-Attributing a Ghostwriter-Contractor Debtor

[b.] Nicholas Breton : Distinguishing Pseudonyms in Codes N. B. and B. N. Initials

[c.] Anthony Monday : Divergences Between the Thief and the Ghost Behind the “A Monday, Citizen, and Draper of London” Byline

[d.] The Fletchers and the Beaumonts : Two Families of Ghostwriter-Contractors

Authorial Group Chronologies – pp. 649 – 679
Bibliography: Texts Tested for Attribution – pp. 680 – 691
Index: pp. 692 – 696

The last page is a set of cover images of the BRRAM volumes with the following descriptions:

Volumes 1 and 2 describe and apply the first unbiased and accurate method of 'computational-linguistics authorial-attribution' covering 284 texts with 7,832,156 words; 104 by-lines, a range of genres, and a timeline between 1560 and 1662, with biographies of the Workshop

Volumes 3 – 14 present first modernizations of William “Shakespeare” Percy's (1567? – 1648) neglected dramas and poetry:

V. 3 – Sonnets to the Fairest Coelia and Three Letters
V. 4 – Cuck-Queans' and Cuckholds' Errands
V. 5 – The Thirsty Arabia
V. 6 – The Aphrodisia
V. 7 – Forest Tragedy
V. 8 – Fairy Pastoral
V. 9 – Fedele and Fortunio
V. 10 – Three Lords and Three Ladies of London
V. 11 – Look Around You
V. 12 – Hamlet: First Quarto
V. 13 – Nobody and Somebody
V. 14 – Captain Underwit

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For the paper versions of this e-text the following Library of Congress information (from the verso of the title page) is copied:

Library of Congress Control Number: 2021949415

Library Cataloging Catalog Record:

Faktorovich, Anna, 1981-, author.
The Re-Attribution of the British Renaissance Corpus, title.
(British Renaissance Re-Attribution and Modernization), series.

Paper book [with] 698 pages and 10 inches [26 centimeters] in height.

ISBN 979-8-49958-765-2 (softcover : alk. Paper)
ISBN 979-8-49958-864-2 (hardcover : volume 1 : alk. Paper)
ISBN 979-8-49959-084-3 (hardcover : volume 2 : alk. Paper)
Kindle (e-book)

Library of Congress subject headings:

1. Nonfiction—Literary Criticism—Shakespeare.
2. Nonfiction—Computers—Mathematical & Statistical Software.

Library of Congress Classification: PN715-749: Literary History: Renaissance (1500-1700)

Dewey Decimal Classification: 410: Linguistics

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