Plays of the Ages · Rights Audit · August 2026

The public domain shelf

What can actually be read aloud, for free, from each of the twenty-one traditions on the meetup list — verified against Project Gutenberg, Internet Archive, HathiTrust, Wikisource and the Online Books Page. The rule applied throughout: published 1930 or earlier is public domain in the US, and a translation carries its own copyright separate from the original. That second clause does most of the damage.

Claude
Research

21categories audited

6abundant

5effectively empty

9copyright traps found

The verdict, all twenty-one

Ordered as you listed them. The number is how many distinct public-domain English play texts appear to exist — not how many are convenient to get hold of, which is a separate and often worse problem.

EuropeGreekAbundant~44 plays. The complete tragic and comic corpus, most in three or four competing pre-1930 translations.

EuropeRomanAdequate~36 plays. Terence and Seneca are easy; 18 of Plautus's 20 exist only as library scans.

EuropeMedievalAdequate~12 genuinely readable. Everything else is original-spelling Middle English.

EuropeCommediaNear-emptyZero PD scenario translations. Scenarios aren't scripts anyway — there is nothing to read aloud.

EuropeRenaissance / ElizabethanAbundant200+. Written in English, so no translation layer at all. This category alone could run for years.

EuropeSpanishThin~24, and about 22 of them are Calderón. Lope de Vega has no usable PD English at all.

EuropeFrenchAbundant~45–55. Molière complete in speakable prose; Racine workable; Corneille thin.

EuropeRestorationAbundant60–100+. And unusually generous to women — The Way of the World splits 6/6.

EuropeNeoclassicalAdequateGoldoni yes, Alfieri yes but stiff, Gozzi zero. The English side is rich.

EuropeTwentieth CenturyAbundant250–400 — but only to 1930. After that it falls off a cliff, not a slope.

AmericanRomanticismAdequate~30–60, nearly all inside two anthology sets. Severe content warnings.

AmericanRealismAbundant60–100+. Stronger than its reputation, because 1926–30 titles only entered PD in the last two years.

AmericanContemporaryNear-emptyZero. Not a research finding — a matter of law. Everything post-1930 is licensed.

AfricanEgyptianNear-emptyZero play texts. There may never have been a play. See below — this one is genuinely interesting.

AfricanWest AfricanNear-emptyZero. Not one pre-1931 published English playscript by a West African author exists.

AfricanAfrican DiasporaAdequate30+, mostly one-acts — and one-acts are exactly what a reading club wants. The best surprise in the audit.

AsianIndianAbundant20–35. Kālidāsa, Śūdraka and Bhavabhūti fully covered; Tagore translated himself.

AsianChineseThinTwo or three real full-length plays. Thinner than expected — see the relay problem.

AsianJapaneseAbundant25–30, almost all Noh. Waley's 1921 book alone supplies nineteen, with 3–5 parts each.

AsianIndonesianNear-emptyZero. And the reason is structural, not accidental — wayang has no fixed text to translate.

AsianThaiNear-emptyZero. The cleanest result in the audit, and the explanation is remarkable.

Nine things that would have bitten you

Traps found during verification. Several of these are cases where a reasonable person would confidently get it wrong.

⚠ Being on Project Gutenberg does not mean public domain

Gutenberg hosts some modern translations with permission. PG #806 "Philoktetes" carries the line "Copyright © 1986, 1997 by Gregory McNamee / All Rights Reserved" inside the file. PG #11946 Le Sage's La Tontine is a Frank J. Morlock translation and the record says "Copyrighted." Check the translator and the copyright line on every record before you schedule it.

⚠ The Harlem Renaissance publication-lag trap

This is the most consequential one. Georgia Douglas Johnson's A Sunday Morning in the South was written in the 1920s and first published in 1974. Same for Blue-Eyed Black Boy and Safe. Anyone reasoning from the writing date gets this wrong. These writers were locked out of commercial publication at the time, so "staged in 1926, printed in 1974" is the norm here rather than the exception — and the 1974 printing is in copyright. Johnson's one reliably PD play is Plumes (1927). Verify first-publication date individually for every title in this category.

⚠ Original date pre-1931, translation post-1930

Pirandello's Tonight We Improvise is a 1930 Italian work — but its first English translation is Putnam's, 1932. Not public domain. The same shape catches any non-English play you reason about by its original date.

⚠ Gutenberg Australia and Gutenberg Canada run on different rules

Both apply life+70, not the US 1930 rule. A text hosted only there is not evidence of US public domain. (The O'Neill plays on gutenberg.net.au happen to be independently PD in the US by publication date — but that's luck, not the host telling you so.)

⚠ Modern recovery anthologies carry their own copyright

Hatch & Shine's Black Theatre USA, Perkins's Black Female Playwrights, Stephens's Plays of Georgia Douglas Johnson, Salerno's and Andrews's Scala scenarios, the Mississippi reprint of Plays and Pageants. Read from the PD originals, never from these editions.

⚠ Foreign-language texts with English introductions

PG #12504 "A Selection from the Comedies of Marivaux" looks like a translation from its title. The plays are in French; only the notes are English. It's a college crib. Several similar items sit in the drama catalogues — check the language field.

⚠ A free PDF is not a public-domain PDF

The top web result for Pierre Patelin is a York University PDF translated by Maurice Relonde — an In Parentheses edition dated 2000. Free to download, not public domain. Use Holbrook 1905 instead.

⚠ Volume I is clear, Volume II is not

Woolner & Sarup's Thirteen Trivandrum Plays (Bhāsa): volume I is 1930 and full-view. Volume II is 1931 and restricted. One year, two different legal statuses, same work.

⚠ Books catalogued as anthologies that contain no plays

Zucker's The Chinese Theater (1925) is a critical history, not a script collection. Kincaid's Kabuki (1925) likewise. Miyamori's Tales from Old Japanese Dramas is prose retellings. Syrett's Old Miracle Plays of England is a children's narrative. Dutta's Tales from the Hindu Dramatists is summaries. All are free and useful as context — none is a playscript.

Five things that were better than expected

✓ One file holds 29 modernised Elizabethan plays

Neilson's The Chief Elizabethan Dramatists (1911, PG #77587). The preface states the spelling and punctuation are modernised throughout. Marlowe, Jonson, Webster, Kyd, Dekker, Middleton, Ford, Massinger, Beaumont & Fletcher — twenty-nine complete playable texts, one free download. This is the single most valuable find in the whole audit.

✓ Pirandello and Coward are public domain

Both counter-intuitive. Six Characters in Search of an Author is PD via Storer's 1922 translation (PG #42148, which also carries Henry IV and Right You Are). Coward's The Vortex, The Rat Trap and Fallen Angels are PD via the 1925 Three Plays. Nobody expects 1920s Coward to be free.

✓ O'Neill has an unusually clean line

Everything he published through 1930 is free — including Anna Christie, The Hairy Ape, Desire Under the Elms, The Great God Brown and the Pulitzer-winning Strange Interlude. Everything from Mourning Becomes Electra (1931) onward is licensed. A clean line is worth telling the group explicitly.

✓ The Harlem Renaissance one-act movement fits a reading club perfectly

Two anthologies supply 21 texts by Black authors: Locke & Gregory's Plays of Negro Life (1927, nine Black-authored plays) and Richardson's Plays and Pageants from the Life of the Negro (1930, twelve). The reason the format fits is historical — the movement was driven by Crisis and Opportunity magazine playwriting contests aimed explicitly at amateur and little-theatre groups. Short, small-cast, dialogue-driven, designed to be performed without resources.

✓ Susan Glaspell's Alison's House entered the public domain in January 2026

The 1931 Pulitzer winner. Seven months old as a free text. Worth knowing that the shelf grows every New Year's Day — 1931 publications arrive January 2027.

The reading-ready core

Verified, clean, copy-pasteable, unambiguously public domain, and good aloud. Filter by region. Everything here was confirmed against a catalogue record or a retrieved text, not recalled.

Play	Tradition	Written	Text used	Source
Oedipus the KingClean two- and three-hander scenes; the best starter tragedy	Greek	c. 429 BCE	Storr, 1912	PG 31
Sophocles — seven playsComplete Sophocles in one file; Campbell reads more fluidly than Storr	Greek	5th c. BCE	Campbell, 1883/1906	PG 14484
MedeaMurray's rhyming verse is stagey but speaks well; the confrontations are superb	Greek	431 BCE	Murray	PG 35451
Iphigenia in TaurisPlot-driven; the least difficult Greek tragedy to read cold	Greek	c. 414 BCE	Murray	PG 5063
The Eleven ComediesAristophanes complete and unexpurgated in prose. Frogs and Lysistrata read best	Greek	425–388 BCE	Athenian Society, 1912	PG 8688
The Brothers (Adelphi)The most readable Roman play for a group — two fathers, two sons, one clean argument	Roman	160 BCE	Colman, 18th c.	PG 22695
Seneca — ten tragediesWritten for recitation: long declamatory speeches. Thyestes and Medea strongest	Roman	c. 50s CE	Miller, 1907	PG 57999
The Second Shepherds' Play8 roles. Verified fully modernised — the best medieval pick, readable cold	Medieval	c. 1400–1450	Rhys, Everyman's Library	PG 19481
Master Pierre Patelin6 principals. Lively modern prose, no archaism. Best non-English medieval option by far	Medieval / French	c. 1464	Holbrook, 1905	Archive
The Plays of RoswithaSix short Latin plays by a 10th-c. nun. Dulcitius is genuinely funny	Medieval	c. 960s	St. John, 1923	PG 59770
The Chief Elizabethan Dramatists29 plays, spelling modernised. Marlowe, Jonson, Webster, Kyd, Dekker, Middleton, Ford	Elizabethan	1580s–1630s	Neilson, 1911	PG 77587
The Duchess of MalfiAlready in your library. Blank verse, long periodic sentences	Renaissance	1612–13	original English	PG 2232
Eight Dramas of CalderónThe whole Spanish category in one file. FitzGerald adapts freely but it plays	Spanish	c. 1629–1650	FitzGerald, 1853/1906	PG 63776
Tartuffe11 roles. Unrhymed blank verse — no couplet problem. One of the best-balanced casts here	French	1664	Curtis Hidden Page, 1908	PG 2027
The MiserWall's prose — the default PD Molière. Fluent, loses the fizz of the verse	French	1668	Wall, 1876–77	PG 6923
The Way of the WorldSplits 6 men / 6 women. Superb wit; hand out a synopsis, the plot defeats first hearers	Restoration	1700	original English	PG 1292
She Stoops to Conquer10 roles, 6/4 split. The single friendliest pick in the entire audit	18th c. English	1773	original English	PG 383
The School for Scandal15 roles, 10/5 split	18th c. English	1777	original English	PG 1929
The Servant of Two Masters14 roles, real masks, prepared for an actual 1928 production. Your one true commedia read	Commedia / Italian	1745	E. J. Dent, 1928	PG Canada
The Comedies of Carlo GoldoniFour plays, prose, modest casts. Best PD Italian for reading aloud	Neoclassical	18th c.	Zimmern, 1892	PG 33575
Six Characters in Search of an Author~23 roles. Volume also holds Henry IV and Right You Are	20th c. Italian	1921	Storer, 1922	PG 42148
Chekhov — Plays, Second SeriesThe Cherry Orchard, Three Sisters, plus six one-acts. The one-acts are ideal club material	20th c. Russian	1888–1904	Julius West, 1916	PG 7986
Saint Joan~25 roles. Only recently added to Gutenberg, consistent with a 2020 US expiry	20th c. Irish/English	1923	original English	PG 76323
Seven Short PlaysSeven one-acts, 3–10 roles each. Probably the best-value single item for a reading club	20th c. Irish	1909	original English	PG 41653
Riders to the Sea~5 roles, ~25 minutes. Excellent single-session piece	20th c. Irish	1904	original English	PG 994
R.U.R.~11 roles. The Selver & Playfair text is the abridged acting version; reads very well	20th c. Czech	1920	Selver & Playfair, 1923	PG 59112
The Lower Depths~17 roles. Large ensemble — good for a big turnout	20th c. Russian	1902	Covan, early 1920s	PG 52468
The ContrastThe first American comedy. Mannered but clear	Am. Romanticism	1787	original English	PG 29228
Fashion; or, Life in New YorkGenuinely funny — the best pure read-aloud pick in early American drama	Am. Romanticism	1845	original English	HathiTrust
Francesca da RiminiThe strongest American Romantic verse play available	Am. Romanticism	1855	original English	PG 13005
Trifles5 characters, one room, ~30 minutes. The best one-act in the PD American canon	Am. Realism	1916	original English	PG 10623
Miss Lulu Bett1921 Pulitzer. Clean HTML, one of the most read-aloud-friendly texts found	Am. Realism	1921	original English	UPenn
War BridesA strong short pacifist one-act. Ends in suicide — brief the group	Am. Realism	1915	original English	PG 14602
Anna ChristieEverything O'Neill published through 1930 is free; 1931 onward is not	Am. Realism	1922	original English	PG 4025
Alison's House1931 Pulitzer. Entered the public domain 1 January 2026	Am. Realism	1930	original English	Archive
Street Scene1929 Pulitzer. Very large cast — good for a big group	Am. Realism	1929	original English	Archive
The ClimbersClyde Fitch is the pleasant surprise — four full play texts in plain text	Am. Realism	1901	original English	PG 16635
Rachel7 principals, three acts. The first major play by a Black American woman. The flagship	African Diaspora	1916 / pub. 1920	original English	PG 65112
Mine Eyes Have Seen8 roles, one-act, one tenement kitchen. Clean prose, balanced parts. Excellent	African Diaspora	1918	original English	Louisiana Anthology
The Escape; or, A Leap for FreedomThe first published play by an African American. Five acts — splittable	African Diaspora	1858	original English	PG 65519
Plays of Negro LifeNine plays by Black authors — Johnson, Richardson, Spence, Toomer, Matheus, Duncan, Nugent, Wilson. Eight further plays in the volume are by white authors	African Diaspora	pub. 1927	original English	Archive
Plays and Pageants from the Life of the NegroTwelve texts, all by Black authors — Duncan, Cuney-Hare, Matheus, May Miller, Richardson, Burke, Guinn, Gunner, McCoo	African Diaspora	pub. 1930	original English	HathiTrust
The Little Clay CartThe best candidate in the whole audit for a live read: a plotty city comedy with genuinely funny low-life dialogue	Indian / Sanskrit	c. 5th c. CE	Ryder, 1905	PG 21020
ShakuntalaRyder's verse is metrical and speakable. Volume also holds Malavika and Urvashi	Indian / Sanskrit	c. 4th–5th c.	Ryder, c. 1912–14	PG 16659
ChitraAlready in your library. Very small cast, one act. Tagore's own English	Indian / Bengali	1892 / Eng. 1913	the author	PG 2502
The Post OfficeShort, plain, deeply readable aloud. The easiest entry point in the Indian list	Indian / Bengali	1912 / Eng. 1914	Mukerjea, under Tagore	PG 6523
The Nō Plays of JapanNineteen plays including Atsumori. Noh casts are tiny by structure — 3–5 parts plus chorus. The richest free resource in this audit	Japanese	14th–16th c.	Waley, 1921	PG 43304
Certain Noble Plays of JapanFour plays. Pound edited Fenollosa's notes as a poet, not a Japanologist — beautiful, not reliable	Japanese	14th–15th c.	Fenollosa & Pound, 1916	PG 8094
Chiushingura (The Loyal League)The one complete substantial PD kabuki/bunraku text in English. Eleven acts, the forty-seven rōnin	Japanese	1748	Dickins, 1875/1880	Wikisource
The Sorrows of HanThe strongest full-length PD Chinese candidate: a genuine Yuan tragedy, direct from Chinese, complete, short enough for one sitting	Chinese	13th c.	Davis, 1829	HathiTrust
An Heir in His Old AgeThe first Chinese play translated directly into English. Domestic comedy, small cast	Chinese	13th–14th c.	Davis, 1817	Archive

The empty shelves, and why

Four categories returned nothing. In every case the reason is more interesting than the absence, and worth publishing rather than hiding.

Egypt — there may never have been a play

No playhouses, no dramatists, no word for "play," no manuscripts formatted as scripts. The texts routinely cited as Egyptian drama — the Ramesseum Dramatic Papyrus, the Shabaka Stone, the pyramid-text rituals — are ritual documents that early-twentieth-century Egyptologists, above all Kurt Sethe in 1928, labelled dramatic. The label migrated into theatre-history textbooks and hardened into the "Abydos Passion Play," which is a modern scholarly construction. The primary evidence for Abydos is the Ikhernofret Stela — a first-person memoir by a royal treasurer describing ceremonies he funded. There is no script. Scholarship is openly split; Fairman called the question "notoriously difficult to solve."

Modern Egyptian drama begins with Tawfiq al-Hakim in 1926 (Arabic) and is entirely in copyright; he died in 1987, so that will not change for a long time.

West Africa — a performance history decades ahead of any publication history

Not one pre-1931 published English-language playscript by a West African author was found, and the secondary literature is consistent with none existing. The tradition is masquerade, festival, egungun, storytelling and dance-drama — enacted and transmitted in performance. Where literate colonial-era theatre did emerge (the Cape Coast and Accra literary societies, Lagos church cantatas and "native air operas" from the 1880s), it existed as performance events and manuscripts; the regional presses printed newspapers, hymnals and tracts, not playscripts.

The decisive case is Kobina Sekyi's The Blinkards. Written 1915 — and first published in 1974. It circulated for nearly sixty years as an unpublished performance text. It is in copyright. Soyinka, Rotimi, Clark, Sutherland, Aidoo, Osofisan: all in copyright.

Indonesia — there is no fixed text to translate

The Online Books Page returns eighteen items for Javanese drama. Every one is in Javanese or Dutch. The Javanese items are the real repertoire — pakem and lampahan, the dalang's scenario books. But a pakem is a sequence of scenes and mood-cues; the dalang improvises the dialogue live, voices every character, cues the gamelan, and expands or compresses to the audience, across a performance that traditionally runs all night. There is no fixed authorial text to be faithful to.

That is why the colonial-era scholarship is philological rather than translational. The absence here is not an accident of what got translated — it reflects the actual structure of the form, and saying so is more interesting than apologising for an empty shelf.

Thailand — the empty shelf is an artifact of never being colonised

This is the most striking finding in the audit. Twenty Thai drama items in the catalogue, every one in Thai. Siam was never colonised, so it never acquired the resident cadre of colonial officials, missionaries and philologists who generated the English versions of Sanskrit, Chinese and Japanese drama. Compare: Wilson and Monier-Williams came out of the East India Company and Oxford's Boden chair; Davis, Stent, Giles and Stanton were British consular and customs officers in China and Hong Kong; Fenollosa, Dickins, Stopes and Waley worked in Meiji and Taishō Japan. Siam had no equivalent apparatus pointed at it.

Meanwhile the court under Rama VI was running the traffic in the opposite direction — translating Shakespeare, Sheridan and Courteline into Thai. The absence of Orientalist translators means the absence of Orientalist distortion, and also the absence of any text at all.

The translation problem, named

The public domain in English is a fossil record of what Victorian and Edwardian publishers chose to translate. Since you intend to display translator credits, here is what those credits actually mean.

Sanskrit. H. H. Wilson (1827) was an East India Company surgeon; his versions are genteel and drop erotic material. Monier Monier-Williams (1855) held the Boden chair at Oxford — a post endowed explicitly to assist the conversion of India to Christianity — and his Sakoontala moralises. Arthur Ryder (Berkeley, 1905–14) is the outlier and the reason this category reads well: idiomatic, actable, unsqueamish. He is also free — he compresses and invents rhyme where Sanskrit has none.
Tagore. The one case with no Orientalist in between — he translated himself. But he rewrote as he went, thinning the Bengali's density and adding a soft mystical register for his post-Nobel English audience. "Translated by the author" here means "rewritten by the author," which belongs in the credit.
Noh. Ernest Fenollosa died in 1908 leaving rough notebooks. Ezra Pound edited them as a poet who did not read Japanese — he cut, reshaped, and carried over documented errors. Yeats's introduction uses Noh as ammunition for his own theatrical programme. Waley read the language and is far more trustworthy, but is himself a stylist, and several items in his book are summaries rather than translations. Neither reproduces the chant, dance and drum that carry meaning in performance: you are reading a libretto with the music deleted.
Chinese — the relay problem. The Orphan of Zhao reached English only through French, and every 18th-century English form descends from Prémare, a Jesuit who cut every sung aria — which in Yuan zaju is where the emotional content lives. The Circle of Chalk is worse: Chinese → French (Julien) → German (Klabund, who rewrote freely and changed the ending) → English (Laver, 1929). It is public domain, and it is a German Expressionist play wearing a Chinese costume.
Chinese — selection bias. The early canon was chosen for what looked classifiable as European tragedy or comedy. That is why two plays dominate and why Guan Hanqing, the greatest Yuan playwright, is essentially absent.
Spanish. FitzGerald reads aloud well and is stage-shaped — but he cuts and rewrites freely; you are reading FitzGerald-on-Calderón. MacCarthy is accurate and chases Spanish assonance into English, producing dense, inverted lines. For a mixed amateur group: FitzGerald every time.
Plautus. Riley's prose is literal and bowdlerised. Plautus's comedy is largely verbal — puns, obscenity, metrical patter — and Riley kills most of it. Groups routinely report Plautus reading flat in PD translation and being hilarious in a modern one. This is the single biggest quality gap found.

What would need a licence, or a commission

Lope de Vega — the most consequential gap. Of 50+ English translations, all but three postdate 1900, and Underhill's Four Plays is 1936. Fuente Ovejuna, The Dog in the Manger, Peribáñez: no PD English exists. The most performable Golden Age dramatist, and the one your group would most want, is unavailable.
The Western Chamber and The Injustice to Dou E. Two of the four Chinese plays you'd name. Earliest English Western Chamber is 1935; no pre-1931 Dou E of any kind exists.
Chikamatsu. Miyamori's 1926 Masterpieces of Chikamatsu is PD and confirmed to exist in library catalogues, but no free scan was found. Everything else came through Donald Keene from 1951.
Gozzi. Zero. The fiabe simply were not translated into English before 1931.
Beckett, Brecht, Lorca. The three where a club feels the loss most, and none has a workaround. Lorca has no PD English play at all.
All American drama after 1930. Odets, Hellman, Wilder, Williams, Miller, Hansberry, Baldwin, Wilson — every one licensed.
Kyōgen. Short, funny, two or three actors — perfect for a reading club. No pre-1931 English collection found. Worth a dedicated follow-up search before concluding it's absent.

How licensing actually works for readings

Most of this repertoire sits with Dramatists Play Service or Concord Theatricals (which absorbed Samuel French), with some estates handling their own. A licence is normally required for any reading that is public, advertised, ticketed, or streamed. A genuinely private reading among a fixed group — not advertised, not recorded, not streamed, no audience beyond the readers — is generally treated as outside performance licensing.

For your model specifically: membership, recording and public archiving are exactly what moves a reading out of that private category. The recording question, not the reading question, is what determines exposure. Worth a one-line answer from each licensor rather than an assumption. "Staged reading" is usually a cheaper named category than full production, often a modest flat fee, turnaround days to weeks. August Wilson and Hansberry are more tightly controlled; a handful of estates decline readings entirely.

Content warnings a reading group would want in advance

Nineteenth-century American drama will ambush an unprepared group. The Aiken and Townsend Uncle Tom's Cabin scripts are written in thick phonetic "plantation" dialect with Topsy as written minstrel comedy and racial slurs on the page. Boucicault's The Octoroon has the same problem plus Native American caricature. Barker's The Indian Princess is Noble Savage material throughout. Do not hand any of these out cold.
O'Neill. The Emperor Jones, All God's Chillun Got Wings and The Dreamy Kid use racial slurs repeatedly and are written in heavy dialect. The Emperor Jones is largely one Black character's extended breakdown written by a white author in dialect. Groups have walked out of cold readings of it.
Restoration comedy is cheerfully obscene. The Country Wife turns on a running impotence joke and the "china scene"; Behn's plots include attempted rape played partly for comedy. Fine for a self-selected adult group — brief people before assigning parts, not after.
The diaspora one-acts deal directly with lynching, sexual violence under slavery and forced sterilisation — that is largely their point. Rachel, Aftermath and Mine Eyes Have Seen are all built on it. Different from the caricature problem above, but still needs advance notice.
Attribution. Plays of Negro Life mixes nine Black-authored plays with eight by white authors — O'Neill, Torrence, Paul Green, Culbertson, Rogers, Lucy White — several written in dialect. Locke and Gregory mixed them deliberately. Reading from the anthology without distinguishing authorship would misrepresent the material.

How this was checked, and where it's soft

Sources queried: Project Gutenberg ebook and author pages, HathiTrust catalogue records, the Online Books Page (curated and reliable), Internet Archive and Wikisource via search, plus scholarly surveys for the Chinese and Egyptian questions.
Access limits. Direct HTTP was blocked; Gutenberg's search, all of archive.org's item pages, HathiTrust's page viewers and Wikisource were not directly fetchable. Gutenberg ebook pages and HathiTrust catalogue records were retrieved and read. Archive.org and Wikisource URLs here appeared in search results but the items were not opened — treat those one confidence level lower.
Nothing was invented. Where a title, translator, date or URL could not be confirmed it was flagged rather than filled in. Several specific open questions remain: the publication date of Richardson's The Chip Woman's Fortune, whether Gerstenberg's Overtones is inside Washington Square Plays, whether Wilson's Select Specimens contains an English Mudrārākṣasa or Ratnāvalī, and whether an English Nāgānanda exists at all.
Cast sizes are mostly structural inference, not counted dramatis personae. The exceptions, counted directly from source texts: The Way of the World, She Stoops to Conquer, The School for Scandal, Tartuffe, Mine Eyes Have Seen, Rachel, Six Characters, The Servant of Two Masters, The Second Shepherds' Play, Master Pierre Patelin, A Curious Mishap.
Format is a separate problem from copyright. "HathiTrust page images" means scanned pages, not text. Rachel Crothers is the largest PD holding of any American woman playwright and is almost entirely trapped in scans — free, but someone has to retype. The same applies to 18 of Plautus's 20 plays and to most of the diaspora one-acts.
The shelf grows every January. 1930 publications arrived this year; 1931 arrives on 1 January 2027 — which brings O'Neill's Mourning Becomes Electra and Woolner & Sarup's Bhāsa volume II.