those for Shakespeare, and also points out some glaring lapses of logic. About Looney's declaration that The Tempest was not written by the same author as the rest of the Shakespearean canon, he writes: Having begun, on the usual "Baconian" lines, by insisting that "there was subterfuge in the manner of publishing the First Folio edition"—which implies, if it implies anything, that the publishers were aware of the true authorship—he ends by maintaining that the play to which they assigned the place of honour was by someone else. To be suspicious about gnats and swallow camels seems the inevitable beginning and end of all these identifications of Shakespeare; but Mr. Looney exemplifies the process with a frankness all his own. In a review of Looney's Poems of Edward de Vere Seventeenth Earl of Oxford (1921) in the introduction to his edition of The Paradise of Dainty Devices (1927), Hyder Edwards Rollins says that Looney reveals little familiarity with poetical miscellanies or Elizabethan publishing conditions. He writes that "The verbal parallels between Oxford's Paradise poems and Shakespeare's works which Mr. Looney painstakingly amasses are, on the whole, mere commonplaces, often straight-out proverbs, that could be vastly increased in bulk by a person familiar with Elizabethan poetry. They prove nothing except that Shakespeare and Oxford, like all other Elizabethans, indulged in the use of fashionable commonplaces and figures." According to Steven May, who produced the standard edition of Edward de Vere's poetry, "[t]he motifs and stylistic traits that Looney and his followers have claimed through the years to be unique to the verse of both the Earl of Oxford and Shakespeare are in fact commonplaces of Elizabethan poetry employed by many other contemporary writers. The Oxfordians have failed to establish any meaningful connection between Oxford's verse and Shakespeare's. Stripped of this argument, the Earl is no more likely to have written Shakespeare's works than any other Elizabethan poet." By contrast, Oxfordians Warren Hope and Kim Holston, in recounting Looney's methodology, say that "[h]aving found someone who met all the conditions he had originally established, Looney devotes a chapter to a comparison of Oxford's verse with the early work of Shakespeare, a tour de force of literary and historical analysis which in some ways anticipates the procedures of the 'new criticism.'" David Chandler notes that Looney’s psychological method of discovering the true author was more congruent to the traditions of Romantic criticism as