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John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of The Tempest, David Lindley has thoroughly revised the Introduction to take account of the latest developments in criticism and performance. He has also added a completely new section on casting in recent productions of the play. The complex questions this new section raises about colonisation, racial and gender stereotypes and the nature of theatrical experience are explored throughout the introduction. Careful attention is paid to dramatic form, stagecraft, and the use of music and spectacle in The Tempest, a play that is widely regarded as one of Shakespeare's most elusive and suggestive. A revised and updated reading list completes the edition.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of The Tempest, David Lindley has thoroughly revised the Introduction to take account of the latest developments in criticism and performance. He has also added a completely new section on casting in recent productions of the play. The complex questions this new section raises about colonisation, racial and gender stereotypes and the nature of theatrical experience are explored throughout the introduction. Careful attention is paid to dramatic form, stagecraft, and the use of music and spectacle in The Tempest, a play that is widely regarded as one of Shakespeare's most elusive and suggestive. A revised and updated reading list completes the edition.

The Everyman's Library Pocket Poets hardcover series is popular for its compact size and reasonable price which does not compromise content. Poems: Shakespeare contains selections from Shakespeare's work, including his sonnets, his narrative poems Venus and Adonis and The Rape of Lucrece, songs and speeches, and an index of first lines.

How can we look afresh at Shakespeare as a writer of sonnets? What new light might they shed on his career, personality, and sexuality? Shakespeare wrote sonnets for at least thirty years, not only for himself, for professional reasons, and for those he loved, but also in his plays, as prologues, as epilogues, and as part of their poetic texture. This ground-breaking book assembles all of Shakespeare's sonnets in their probable order of composition. An inspiring introduction debunks long-established biographical myths about Shakespeare's sonnets and proposes new insights about how and why he wrote them. Explanatory notes and modern English paraphrases of every poem and dramatic extract illuminate the meaning of these sometimes challenging but always deeply rewarding witnesses to Shakespeare's inner life and professional expertise. Beautifully printed and elegantly presented, this volume will be treasured by students, scholars, and every Shakespeare enthusiast.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Edited and introduced by William C. Carroll, this edition of Love's Labour Lost features a lively account of the play's performance history from 1632 to the present day. Stage and screen productions of the late twentieth century receive particular attention and a range of international performances are also explored. New trends in the scholarly criticism are discussed in the introduction, as are the play's sources and historical contexts. Carroll's text is freshly edited from the First Quarto, published in 1598, and presents a highly readable modernised edition of Love's Labour Lost; a play known for its unorthodox ending and extraordinary use of language.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of Measure for Measure Angela Stock has written a new introductory section that takes account of recent scholarly criticism and important contemporary productions on stage and film. The edition retains the text prepared by Brian Gibbons together with his comprehensive introduction, in which he shows how the play's critical reception and stage history varies from one period to the next according to the prevailing social, moral and religious issues of the day. Gibbons explores the thrilling experience of watching the play in performance, with its shocking reversals and surprises, great tragic poetry and exuberant comic prose. An updated reading list completes

"Macbeth," or the Scottish Play, falls behind only "Hamlet" and "Romeo and Juliet" in terms of how well-known it is. Shakespeare's masterful story of Macbeth and his descent into madness and murder re

The third edition of Hamlet offers a completely new introduction to this rich, mysterious play, examining Shakespeare's transformation of an ancient Nordic legend into a drama whose philosophical, psychological, political, and spiritual complexities have captivated audiences world-wide for over 400 years. Focusing on the ways in which Shakespeare re-imagined the revenge plot and its capacity to investigate the human experiences of love, grief, obligation, and memory, Heather Hirschfeld explores the play's cultural and theatrical contexts, its intricate textual issues, its vibrant critical traditions and controversies, and its history of performance and adaptation by celebrated directors, actors, and authors. Supplemented by an updated reading list, extensive illustrations and helpful appendices, this edition also features revised commentary notes explicitly designed for the student reader, offering the very best in contemporary criticism of this great tragedy.

The third edition of Hamlet offers a completely new introduction to this rich, mysterious play, examining Shakespeare's transformation of an ancient Nordic legend into a drama whose philosophical, psychological, political, and spiritual complexities have captivated audiences world-wide for over 400 years. Focusing on the ways in which Shakespeare re-imagined the revenge plot and its capacity to investigate the human experiences of love, grief, obligation, and memory, Heather Hirschfeld explores the play's cultural and theatrical contexts, its intricate textual issues, its vibrant critical traditions and controversies, and its history of performance and adaptation by celebrated directors, actors, and authors. Supplemented by an updated reading list, extensive illustrations and helpful appendices, this edition also features revised commentary notes explicitly designed for the student reader, offering the very best in contemporary criticism of this great tragedy.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This is the third New Cambridge edition of The Taming of the Shrew, one of Shakespeare's most popular yet controversial plays. Ann Thompson considers its reception in the light of the hostility and embarrassment that the play often arouses, taking account of both scholarly defences and modern feminist criticism. For this version the editor pays lively attention to the problematic nature of debates about the play and its reception in the twenty-first century. She discusses recent editions and textual, performance and critical studies.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This is the third New Cambridge edition of The Taming of the Shrew, one of Shakespeare's most popular yet controversial plays. Ann Thompson considers its reception in the light of the hostility and embarrassment that the play often arouses, taking account of both scholarly defences and modern feminist criticism. For this version the editor pays lively attention to the problematic nature of debates about the play and its reception in the twenty-first century. She discusses recent editions and textual, performance and critical studies.

This third edition of Othello offers a completely new introduction by Christina Luckyj, providing readers with a nuanced understanding of early modern theatre and culture, and demonstrating how careful attention to Shakespeare's language, staging and dramaturgy can open up fresh interpretations of the play. Tracing critical and performance trends up to the present day, Luckyj shows how the drama taps into contemporary cultural paradoxes surrounding blackness, marriage, and politics to create a powerful double perspective, illuminating the creative and destructive power of stories and of human love itself. Supplemented by an updated reading list and extensive illustrations, this edition also features revised commentary notes, offering the very best in contemporary criticism of this great tragedy.

This third edition of Othello offers a completely new introduction by Christina Luckyj, providing readers with a nuanced understanding of early modern theatre and culture, and demonstrating how careful attention to Shakespeare's language, staging and dramaturgy can open up fresh interpretations of the play. Tracing critical and performance trends up to the present day, Luckyj shows how the drama taps into contemporary cultural paradoxes surrounding blackness, marriage, and politics to create a powerful double perspective, illuminating the creative and destructive power of stories and of human love itself. Supplemented by an updated reading list and extensive illustrations, this edition also features revised commentary notes, offering the very best in contemporary criticism of this great tragedy.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of The Sonnets, Stephen Orgel has written a new introduction to Shakespeare's best-loved and most widely read poems. In a series of focused readings he probes the sonnets' sexual and temperamental ambiguity as well as their complex textual history, and explores the difficulties editors face when modernising the spelling, punctuation and layout of the 1609 quarto. Orgel reminds us that the order in which the sonnets were composed bears no relation to the order in which they appear in the quarto and he warns against reading them biographically. This edition retains the text prepared by G. Blakemore Evans, together with his notes and commentary.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of Titus Andronicus Sue Hall-Smith has written a new section on recent scholarship and important contemporary performances of the play. The edition retains the text prepared by Alan Hughes, based on the first quarto and supplemented by crucial additions and stage directions from the Folio. In the introduction, Hughes contradicts the historically popular view that Titus Andronicus is a poor play of dubious authorship. Joining the growing ranks of critics who take the play seriously, Hughes applauds its thematic unity and grim humour, and demonstrates that it is the work of a brilliant stage craftsman, confident in his mastery of space, movement and verse.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For the second edition of All's Well That Ends Well, Alexander Leggatt has written a completely new introduction to Russell Fraser's text of one of Shakespeare's most puzzling, ambiguous and demanding plays. Leggatt's interest in performance is evident throughout the introduction, particularly in his discussion of the instability of the main characters. He also provides a full, illustrated and thoughtful account of the play's critical and theatrical fortunes to the end of the twentieth century, and explores our experience as an audience of seeing and hearing the play performed. An updated reading list completes the volume.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Macbeth provides a thorough reconsideration of one of Shakespeare's most popular plays. In his introduction, A. R. Braunmuller explores Macbeth's immediate theatrical and political contexts, particularly the Gunpowder Plot, and addresses such celebrated questions as: do the Witches compel Macbeth to murder; is Lady Macbeth herself in some sense a witch; is Macduff morally culpable? A new and well-illustrated account of the play in performance examines several cinematic versions, such as those by Kurosawa and Roman Polanski, as well as other dramatic adaptations. Several possible new sources are suggested and the presence of Thomas Middleton's writing in the

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Macbeth provides a thorough reconsideration of one of Shakespeare's most popular plays. In his introduction, A. R. Braunmuller explores Macbeth's immediate theatrical and political contexts, particularly the Gunpowder Plot, and addresses such celebrated questions as: do the Witches compel Macbeth to murder; is Lady Macbeth herself in some sense a witch; is Macduff morally culpable? A new and well-illustrated account of the play in performance examines several cinematic versions, such as those by Kurosawa and Roman Polanski, as well as other dramatic adaptations. Several possible new sources are suggested and the presence of Thomas Middleton's writing in the

This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the process, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focussed attention, both as the forbidden object of desire within a racial framework, and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film, and in the adaptations which set out to interrogate Shakespeare's text.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of A Midsummer Night's Dream retains R. A. Foakes' text and has been extensively updated by him. In the Introduction to what is widely acknowledged as Shakespeare's most popular comedy, Foakes describes the two main traditions in the play's stage history, one emphasising charm and innocence, the other stressing darker suggestions of violence and sexuality. He shows that both are necessary to a full understanding of the play. For this edition the editor has added a new account of important theatrical productions and scholarly criticism on the play that have appeared in recent years. The reading list has also been revised and updated.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of A Midsummer Night's Dream retains R. A. Foakes' text and has been extensively updated by him. In the Introduction to what is widely acknowledged as Shakespeare's most popular comedy, Foakes describes the two main traditions in the play's stage history, one emphasising charm and innocence, the other stressing darker suggestions of violence and sexuality. He shows that both are necessary to a full understanding of the play. For this edition the editor has added a new account of important theatrical productions and scholarly criticism on the play that have appeared in recent years. The reading list has also been revised and updated.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries, textual notes on the plays and poems and an extensive Introduction. Since the late twentieth century, when scholarly attention began to focus on sexuality, collaboration and Shakespeare's late plays, The Two Noble Kinsmen has become an essential script. Turner and Tatspaugh's edition presents a strong case for taking the play more seriously now than ever before. A lively introduction discusses Shakespeare's craftsmanship in adapting a medieval tale for the Jacobean stage, the extent of co-authorship with John Fletcher, the rhetorical complexity of Shakespeare's late style, the themes of sexuality and friendship, and contemporary critical responses to the play. The edition demonstrates the theatrical vitality of The Two Noble Kinsmen and confirms it as a play for today.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries, textual notes on the plays and poems and an extensive Introduction. Since the late twentieth century, when scholarly attention began to focus on sexuality, collaboration and Shakespeare's late plays, The Two Noble Kinsmen has become an essential script. Turner and Tatspaugh's edition presents a strong case for taking the play more seriously now than ever before. A lively introduction discusses Shakespeare's craftsmanship in adapting a medieval tale for the Jacobean stage, the extent of co-authorship with John Fletcher, the rhetorical complexity of Shakespeare's late style, the themes of sexuality and friendship, and contemporary critical responses to the play. The edition demonstrates the theatrical vitality of The Two Noble Kinsmen and confirms it as a play for today.

This is a detailed account of the theatre history of Shakespeare's Macbeth from 1607 to the present day. The shortest of the tragedies, Macbeth is compressed, complex and ambiguous and has been variously interpreted. The Introduction describes major productions and performers including David Garrick, Sarah Siddons, Henry Irving, Ellen Terry and Laurence Olivier. Sarah Siddons, the greatest Lady Macbeth, portrayed her as a ruthlessly ambitious woman who dominated her husband. Irving, on the other hand, saw Macbeth as 'a bloody-minded villain', unlike his wife, played by Ellen Terry, who was gentle and devoted. Ian McKellen and Judi Dench, in the most successful production of the last century, were united in their ambition and pursuit of evil. A detailed commentary alongside the New Cambridge Shakespeare text of the play describes how specific episodes and passages have been interpreted in the theatre.

This is a detailed account of the theatre history of Shakespeare's Macbeth from 1607 to the present day. The shortest of the tragedies, Macbeth is compressed, complex and ambiguous and has been variously interpreted. The Introduction describes major productions and performers including David Garrick, Sarah Siddons, Henry Irving, Ellen Terry and Laurence Olivier. Sarah Siddons, the greatest Lady Macbeth, portrayed her as a ruthlessly ambitious woman who dominated her husband. Irving, on the other hand, saw Macbeth as 'a bloody-minded villain', unlike his wife, played by Ellen Terry, who was gentle and devoted. Ian McKellen and Judi Dench, in the most successful production of the last century, were united in their ambition and pursuit of evil. A detailed commentary alongside the New Cambridge Shakespeare text of the play describes how specific episodes and passages have been interpreted in the theatre.

First published in 1858, this is the first of three volumes of Howard Staunton's collection of Shakespeare's plays, with black-and-white illustrations by the prolific artist John Gilbert. Staunton's annotated edition, based on the folio and quarto editions collated with the texts of later editors from Rowe to Dyce, combines common sense with meticulous research, making it a definitive resource in its day. Each play is accompanied by an introduction giving details of its original production and publication and the sources of its plot, critical commentary, and footnotes explaining terms and expressions. This volume contains The Two Gentlemen of Verona, Love's Labour's Lost, The Comedy of Errors, Romeo and Juliet, The Taming of the Shrew, King John, A Midsummer Night's Dream, The Merchant of Venice, King Richard II, King Henry IV Part 1, King Henry IV Part II, The Merry Wives of Windsor, and Much Ado About Nothing.

T.G. Tucker was the founding professor of Classics and English at Auckland University College before moving to Melbourne in 1885. His 1924 edition of Shakespeare's Sonnets, with full commentary and notes, illuminates the power and beauty of the poetry for the reader. Tucker's detailed introduction contains discussion of key issues including the publication history of the Sonnets, the question of whether they are autobiographical, the arrangement of the First Series and factors of punctuation, spelling and misreadings or misprints. Recognising the significance of any corruptions of the text – however small – such as wrong emphasis or attaching the incorrect meaning to a word or phrase, Tucker aims to clear up as many as possible of the obscurities left by earlier commentators. Concise and accessible notes draw key comparisons between different editions, demonstrating for the reader the many possible variations and their effect on the meaning, and our understanding, of the Sonnets.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of The First Part of King Henry IV offers a theatrical perspective on the origins of Shakespeare's play and the history of its interpretation. In their introduction the editors, Herbert and Judith Weil, clarify the play's de-centred dramatic structure and call attention to the effects of civil war on a broad range of relationships. Falstaff's unpredictable vitality is also explored, together with such important contemporaneous values as honour, friendship, festivity and reformation. Lexical glosses make the rich wordplay accessible, while the notes provide a thorough commentary on Shakespeare's transformation of his sources. A supplementary section by Katharine

The classic historical tragedy about the downfall of England's King Richard II is accompanied by critical commentary by Sylvan Barnet, historical background, and updated bibliography, and stage and fi

Shakespeare's comedy about the fairy king and queen, Oberon and Titania, and the mischievous Puck, as they create confusion amongst the humans in the forest.Classics Illustrated tells this wonderful t

This new edition of Shakespeare's great exploration of patriotism and war, developed by and for the RSC, includes new interviews with acclaimed directors Kenneth Branagh, Nicholas Hytner, Ed Hall and

Presents the original text of Shakespeare's play side by side with a modern version, discusses the author and the theater of his time, and provides quizzes and other study activities.

This moving and eloquent historical drama depicts the conflict between a willful and arrogant poet of a king, Richard II, and his politically pragmatic cousin, Bolingbroke. Rich with memorable scenes

An official tie-in edition of Shakespeare's great tragedy to accompany the major new film starring Michael Fassbender and Marion Cotillard. 'Double, double toil and trouble; Fire burn and cauldron bub

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. In this second edition of The Two Gentlemen of Verona, Kurt Schlueter approaches Shakespeare's early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which in combination show high-flown human ideals as incompatible with each other and with human nature. Since the first known production at David Garrick's Drury Lane Theatre, the play has tempted major directors and actors, though changing conceptions of the play often fail to recognise its subversive impetus. This updated edition includes a new introductory section by Lucy Munro on recent stage and critical interpretations, bringing the thoroughly researched

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. In this second edition of The Two Gentlemen of Verona, Kurt Schlueter approaches Shakespeare's early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which in combination show high-flown human ideals as incompatible with each other and with human nature. Since the first known production at David Garrick's Drury Lane Theatre, the play has tempted major directors and actors, though changing conceptions of the play often fail to recognise its subversive impetus. This updated edition includes a new introductory section by Lucy Munro on recent stage and critical interpretations, bringing the thoroughly researched