The exploits of the head wizards of the Unseen University are one of the main plot threads in the longrunning fantasy series, and have played a central role in 13 novels to date, as well as the three supplementary Science of Discworld novels and the short story, A Collegiate Casting-Out of Devilish Devices.

Devilish Children and the Civilizing Process ( 2010 ) is a stage play adapted, produced, directed and performed by the Dream Theatre Company of Chicago.

Dodgers pointed out his Devilish appearance to him.

* Devilish Dragster ( voiced by Daws Butler )-A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.

# The Devilish Dragster-The Devilish Dragster has stolen a very valuable item.

The back or second ( verso ) side of Folio 1, in a half-page illustration, depicts the initial stages of the creation of the Libro de juegos, accompanied by text on the bottom half of the page, and the front or first ( recto ) side of Folio 2 depicts the transmission of the game of chess from an Indian Philosopher-King to three followers.

Facsimile of the first page of Macbeth from the First Folio, published in 1623Scholars also cite an entertainment seen by King James at Oxford in the summer of 1605 that featured three " sibyls " like the weird sisters ; Kermode surmises that Shakespeare could have heard about this and alluded to it with the weird sisters.

Facsimile of the first page of Cymbeline from the First Folio The first recorded production of Cymbeline, as noted by Simon Forman, was in April 1611.

Facsimile of the first page of The Life of Henry the Fifth from the First Folio, published in 1623

Title page of Ben Jonson's tragedy ( 1611 ) from the Folio of 1692

Facsimile of the first page of Julius Caesar from the First Folio, published in 1623

Facsimile of the first page of The Lamentable Tragedy of Titus Andronicus from the First Folio, published in 1623

Facsimile of the title page of Measure for Measure from the First Folio, published in 1623Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604.

Facsimile of the first page of All's Well that Ends Well from the First Folio, published in 1623.

First Folio ( 1623 ) title page facsimile

Title page of the second edition of A Shrew, which was issued in three editions ( 1594, 1596, and 1607 ) before the publication of The Shrew in the First Folio.

Facsimile of the first page of Antony and Cleopatra from the First Folio, published in 1623. Many scholars believe it was written in 1606 – 07, although some researchers argue for an earlier dating, around 1603 – 04.

Facsimile of the first page of King John from the First Folio, published in 1623

Facsimile of the first page of Love's Labour's Lost from the First Folio, published in 1623The play opens with the King of Navarre and three noble companions, Berowne, Dumaine, and Longaville, taking an oath to devote themselves to three years of study, promising not to give in to the company of women – Berowne somewhat more hesitantly than the others.

Facsimile of the first page of Richard II from the First Folio, published in 1623

Facsimile of the first page of The Winter's Tale from the First Folio, published in 1623

Top left corner of page 282 from the First Folio of The Winter's Tale.

Facsimile of the first page of Richard the Third from the First Folio, published in 1623

Facsimile of the first page of The first Part of Henry the Sixt from the First Folio, published in 1623

Facsimile of the first page of The second Part of Henry the Sixt, with the death of the Good Duke Humfrey from the First Folio, published in 1623

Facsimile of the first page of The third Part of Henry the Sixt, with the death of the Duke of Yorke from the First Folio, published in 1623

Facsimile of the first page of The First Part of King Henry the Fourth from the First Folio, published in 1623

Facsimile of the first page of The Two Gentlemen of Verona from the First Folio, published in 1623.

Facsimile of the first page of Timon of Athens from the First Folio, published in 1623

* Folio 80 verso: Isidorus on the nature of man ( Ysidorus de natura hominis )

* Folio 89 recto: Isidorus on the parts of man's body ( Ysidorus de membris hominis )

Another is that the Quarto is based on an early version of the play, while the Folio represents Shakespeare's revised version.

Most modern editions are based on the longer Folio version, but often incorporate Quarto readings of words when the Folio text appears to be in error.

A bitter dispute between Hooke and Christiaan Huygens on the priority of this invention was to continue for centuries after the death of both ; but a note dated 23 June 1670 in the Hooke Folio ( see External links below ), describing a demonstration of a balance-controlled watch before the Royal Society, has been held to favour Hooke's claim.

Both the Quarto and the First Folio call him " Robin Goodfellow " on the first entrance, but call him " Puck " later in the same scene, and they remain inconsistent.

Kier Elam posits a date of 1591 as a terminus post quem for the composition of the Folio text of The Shrew, based on Shakespeare's probable use of two sources published that year.

< div class =" references-small "> All references to The Taming of the Shrew, unless otherwise specified, are taken from the Oxford Shakespeare ( Oliver, 1982 ), which is based on the 1623 First Folio.

In 1980, David Jones ( director ), former Associate Artistic Director of the Royal Shakespeare Company chose to launch his new theatre company at the Brooklyn Academy of Music ( BAM ) with The Winter's Tale starring Brian Murray supported by Jones ' new company at BAM In 1983, the Riverside Shakespeare Company mounted a production based on the First Folio text at The Shakespeare Center in Manhattan.

Beginning in the early 1970s he became a prolific illustrator for many anarchist, radical, alternative and mainstream publications, organisations, groups and individuals including Freedom Press, Undercurrents, Respect for Animals, BIT Newsletter, Arts Lab Newsletter, Idiot International, 1977 Firemans Strike, Libertarian Education, The Idler, Radical Community Medicine, Anarchy Magazine, Black Flag, Anarchy Comix, Common Ground, Industrial Worker, Aberlour Distillery, Country Life, Graphical Paper and Media Union, The Times Saturday Review, Tolpuddle Martyrs Festival, New Scientist, Oxford University Press, Penguin Books, Times Educational Supplement, London Anarchist Bookfair, Public and Commercial Services Union, The Sunday Times Magazine, Catholic Worker, Soil Association, The Bodleian Library, New Statesman, Cienfeugos Anarchist Review, Headline Books, The Financial Times, Resurgence, Scotland on Sunday, Town and Country Planning Association, Movement Against A Monarchy, Nursing Times, John Hegarty, The Listener, Zero, McCallan Whisky, Solidarity, New Society, News from Neasden, House & Garden, The Tablet, Radical Science Journal, Royal Mail, The Co-ops Fairs, Picador Books, Pluto Press, Working Press, Anarchismo, Insurrection, Our Generation, Ogilvy & Mather, Vogue, Radio Times, National Union of Teachers, Faber & Faber, Pimlico, Trades Union Congress, Transport and General Workers Union, Serpents Tale, Compendium Books, Poison Girls, Yale University Press, The Daily Telegraph, The Independent, Elephant Editions, Intelligent Life, Landworker, Zounds, Honey, New Musical Express, Knockabout Comics, Trickett and Webb, The Times, See Sharp Press, Countryside Commission, Industrial Common Ownership Movement, BBC Worldwide, Stop the War Coalition, The Folio Society, Unison, Anarchist Studies, Country Standard, Fitzrovia News, Anarchist Black Cross and many others.

Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II, both parts of Henry IV, Henry V, Macbeth and Timon of Athens, and two gravediggers called Bevis and Holland ( after the names of two of Cade's rebels in the Folio text of 2 Henry VI ), who commented ( with dialogue written by Strehler himself ) on each of the major characters as they set about burying them.

All references to Henry VI, Part 1, unless otherwise specified, are taken from the Oxford Shakespeare ( Taylor ), based on the First Folio text of 1623.

Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II, both parts of Henry IV, Henry V, Macbeth and Timon of Athens, and two gravediggers called Bevis and Holland ( after the names of two of Cade's rebels in the Folio text ), who commented ( with dialogue written by Strehler himself ) on each of the major characters as they set about burying them.

All references to Henry VI, Part 2, unless otherwise specified, are taken from the Oxford Shakespeare ( Warren ), based on the First Folio text of 1623.

Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II, both parts of Henry IV, Henry V, Macbeth and Timon of Athens, and two gravediggers called Bevis and Holland ( after the names of two of Cade's rebels in the Folio text of 2 Henry VI ), who commented ( with dialogue written by Strehler himself ) on each of the major characters as they set about burying them.

All references to Henry VI, Part 3, unless otherwise specified, are taken from the Oxford Shakespeare ( Martin ), based on the First Folio text of 1623.

With the exception of Pericles, Prince of Tyre, all of the productions were based on the texts of the First Folio ( 1623 ), however, numerous changes were made throughout the series.

After New Facts, New Particulars and Further Particulars respecting Shakespeare had appeared and passed muster, Collier produced ( 1852 ) the famous Perkins Folio, a copy of the Second Folio ( 1632 ), so called from a name written on the title-page.

Later 17th-century folios of William Shakespeare's works can still fetch about the price of a small house but are more readily available and relatively obtainable, whereas almost all extant copies of the First Folio are owned by libraries, museums or universities and thus are unlikely to appear on the market.

All references to The Two Gentlemen of Verona, unless otherwise specified, are taken from the Oxford Shakespeare ( Warren ), based on the First Folio text of 1623.

Based on this evidence, scholars believe it was a very late addition to the Folio, and therefore may have been added wherever there was room.