The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

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.

Often described as one of Shakespeare's 'problem plays', Measure for Measure explores issues of mercy and justice in corrupt Vienna. The Duke makes his strict moralistic deputy, Angelo, temporary leader of Vienna, while he disguises himself as a friar to witness all that ensues. In the comprehensive introduction to this new, fully-illustrated Arden edition, with commentary and notes from A. R. Braunmuller, Robert N. Watson explores the recent increased attention to the play and the shifting judgements of key characters such as the Duke and Isabella. He analyses the social foundations of these changes, their validity as readings of the text, and their manifestations in performance. It also explores the play's implications on topics including love, marriage, sexuality, consent, mortality, religion, statecraft, moderation, and theatre itself.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750 1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754 1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Titus Andronicus, King Lear, Romeo and Juliet, Hamlet and Othello.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750 1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754 1825), whose other enthusiasms were prison reform and chess. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Love's Labour's Lost, The Merchant of Venice, As You Like It, All's Well that Ends Well, The Taming of the Shrew, The Winter's Tale and The Comedy of Errors.

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 Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750 1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754 1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Troilus and Cressida, Coriolanus, Julius Caesar, Antony and Cleopatra and Cymbeline.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750 1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754 1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Macbeth, King John, King Richard II, King Henry IV, Part 1, King Henry IV, Part 2, and King Henry V.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750 1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754 1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains King Henry VI, Part 1, King Henry VI, Part 2, King Henry VI, Part 3, King Richard III, King Henry VIII and Timon of Athens.

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.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

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 Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

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.

"A truly fun, emotional, and sometimes magical first experience, usually guided by a sagacious, knowledgeable, and intuitive educator." -Library Journal From a teacher's perspective, this book was a great way to introduce students to a Shakespeare play they otherwise might never have encountered in high school . . . much more fun working with the adaptation than it might have been if I had tackled the full script. I strongly recommend this book (and the rest of the series) to educators who want to introduce a variety of Shakespeare plays to their students in a limited amount of time. -James Brendlinger, Chairman, Department of Arts and Communications, Lake Lowell High School, Winter Park, FL This edition of Henry V presents eight scenes, using all actors as Chorus. Included in this riveting cutting are Henry's inspiring "band of brothers" oration to his men, a merry interlude with Bardolph and friends, and an irresistible scene in which Alice teaches English to Katherine and her ladies in waiting. There is also an essay by editor Nick Newlin on how to produce a Shakespeare Play with novice actors, and notes about the original production of this abridgement at the Folger Shakespeare Library's annual Student Shakespeare Festival. Nicolo Whimsey Press aims to make Shakespeare's plays accessible, performable, and fun for young people, regardless of their experience level. Through his twenty years of working as a director-in-residence in DC public high schools under the auspices of the Folger Shakespeare Library, Nick Newlin has created thirty-minute edits of Shakespeare's plays, complete with stage directions and character suggestions that can be performed by groups of fifteen to thirty young people. Performance rights are included with the purchase of play scripts. Unlike most other scripts on the market today, The 30-Minute Shakespeare has no separate charge for public performances, making each volume an exceptional value. What makes these books extraordinary is author Nick Newlin's breadth of expertise and experience as a performer, teaching artist and scholar. Newlin holds a BA from Harvard University and an MA in Theatre from the University of Maryland. He has performed a stage act for young people as Nicolo Whimsey since 1986 from the high Himalayas to the White House, and since 2006 he has conducted a teaching artist residency with DC Public High School Students with Folger Shakespeare Library.