Anderson, Linda. A Kind of Wild Justice: Revenge in Shakespeare's Comedies. Newark: University of Delaware Press, 1987, 195 p.

Explores the subject of justifiable revenge for "wrongs there is no law to remedy" in Shakespearean comedy.

Boris, Edna Zwick. Shakespeare 's English Kings, the People, and the Law: A Study in the Relationship between the Tudor Constitution and the English History Plays. Cranbury, N. J.: Associated University Presses, 1978, 261 p.

Investigates late sixteenth-century English constitutional law as it applies to Shakespeare's two historical tetralogies and King John.

Buckley, G. T. "Was Edmund Guilty of Capital Treason?" Shakespeare Quarterly 23, No. 1 (Winter 1972): 87-94.

Suggests that King Lear's Edmund may not have been guilty of the charges of high treason brought by Albany, according to English common law.

Carroll, William C. " 'The Form of Law': Ritual and Succession in Richard III." In True Rites and Maimed Rites:. Titual and Anti-Ritual in Shakespeare and His Age, edited by Linda Woodbridge and Edward Berry, pp. 203-19. University of Illinois Press, 1992.

Explores Richard Ill's transgression of the "form of law" in his pursuit of succession to the English throne in Richard HI.

Cerasano, S. P. " 'Haifa Dozen Dangerous Words.' " In Gloriana's Face: Women, Public and Private, in the English Renaissance, edited by S. P. Cerasano and Marion Wynne-Davies, pp. 167-83. Detroit, Mich.: Wayne State University Press, 1992.

Examines Hero's comic use of "honest slander" in her plot to encourage Benedick's and Beatrice's love in Much Ado About Nothing in relation to the historical adjudication of Renaissance slander cases.

Echeruo, Michael J. C. "Tantistry, the 'Due of Birth' and Macbeth's Sin." Shakespeare Quarterly 23, No. 4 (Fall 1972): 444-50.

Considers the argument that Macbeth's murder of Duncan was in some sense justified by Duncan's disregard of the law of tantistry—which states that a king's vacated throne, rather than being immediately succeeded to by his son, should be granted to the first ranking adult male of the royal family.

Graham, Kenneth J. E. " 'Without the form of justice': Plainness and the Performance of Love in King Lear." Shakespeare Quarterly 42, No. 4 (Winter 1991): 438-61.

Discusses the importance of "plainspeakers" in King Lear whose truthfulness contradicts the corruption of human judgment.

Hamill, Monica J. "Poetry, Law, and the Pursuit of Perfection: Portia's Role in The Merchant of Venice." Studies in English Literature 1500-1900 XVIII, No. 2 (Spring 1978): 229-43.

Focuses on the noble and complementary Renaissance pursuits of poetry and legislation as they are personified in the character of Portia.

Johnson, Lonnell E. "Shylock's Daniel: 'Justice More Than Thou Desir'st.' " CLA Journal XXXV, No. 3 (March 1992): 353-66.

Probes allusions to the Biblical figure of Daniel as they relate to the resolution of the legal plot in The Merchant of Venice.

Jordan, Constance. "Contract and Conscience in Cymbeline." Renaissance Drama XXV, New Series (1994): 33-58.

Analyzes contracts of family and state represented in Cymbeline.

Roth, Marty. " 'The Blood that Fury Breathed': The Shape of Justice in Aeschylus and Shakespeare." Comparative Literature Studies 29, No. 2 (1992): 141-56.

Studies the legal dimensions of revenge, justice, and social exclusion in Aeschylus's drama Eumenides and Shakespeare's The Merchant of Venice.

White, R. S. "King Lear and Philosophical Anarchism." English XXXVII, No. 159 (Autumn 1988): 181-200.

Examines the "anarchic" treatment of themes of authority and justice in King Lear.

Wilks, John S. "The Discourse of Reason: Justice and the Erroneous Conscience in Hamlet." Shakespeare Studies XVIII (1986): 117-44.

Comments on manifestations of providential justice and misaligned conscience in the figure of Hamlet.

Williams, George Walton. " 'With a little shuffling.' " In "Fanned and Winnowed Opinions": Shakespearean Essays Presented to Harold Jenkins, edited by John W. Mahon and Thomas A. Pendleton, pp. 151-59. London: Methuen, 1987.

Investigates the ambiguity of Claudius's succession in Hamlet as it hinges upon the metaphor of "shuffling"—an action that Walter argues only delays the inevitable retribution for Claudius's murder of his brother.