This is the first fully annotated edition of Ben Jonson's "The Magnetic Lady," written in 1632. The introduction places the play in the context of Jonson's later dramatic and poetic works and discusses the political context of the Caroline court. A performance history of the play and fresh material relating to its 17th-century reception are also provided. This new edition by Peter Happè reappraises Jonson's much-neglected play and argues for its recognition as a work of real distinction.

Shakespeare's Henry VI plays have come fully into their own in the modern theatre. For this new edition of Henry VI, Part Two, Roger Warren draws on his experience of the play both in rehearsal and performance to focus its theatricality and contemporary relevance, as well as providing a detailed commentary and a fresh consideration of the relation between the two original texts.

This book explores traditional approaches to the play, which includes an examination of the play in light of current history, in the context of Renaissance England, and in relation to Shakespeare's other Roman plays as well as structural examination of plot, language, character, and source material. Julius Caesar: Critical Essays also examines the current debates concerning the play in Marxist, psychoanalytic, deconstructive, queer, and gender contexts.

More troubled and troubling than King Henry IV Part 1, the play continues the story of King Henry's decline and Hal's reform. Though Part 2 echoes the structure of the earlier play, it is a darker and more unsettling world, in which even Falstaff's revelry is more tired and cynical, and the once-merry Hal sloughs off his tavern companions to become King Henry V. James C. Bulman's authoritative edition provides a wealth of incisive commentary on this complex history play.

As Shakespeare's works are most accessible when viewed as working theatrical playscripts, ""The Tragedie of Macbeth: A Frankly Annotated First Folio Edition"" preserves the spelling, capitalization, and punctuation of the First Folio of 1623 while at the same time providing the most comprehensive, revelatory, and plainspoken annotation to date. Based on the principle that Shakespeare's plays were written as popular (and not entirely decent) entertainments aimed at an adult (and not overly refined) audience, this no-nonsense and sexually candid text offers performers, scholars, and anyone with an interest in Shakespeare a unique resource to gain valuable insights into the play, the world in which Shakespeare wrote, and the playhouse in which his plays were produced.

Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character.

In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music-heard, imagined, or remembered-to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical sound; the questionable status of audible, earthly music as an echo of celestial harmonies; and one writer's allusions to another. Minear argues that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics. Analyzing Milton's account of Shakespeare's 'warbled notes,' she demonstrates that he saw Shakespeare as a peculiarly musical poet, deeply and obscurely moving his audience with language that has ceased to mean, but nonetheless lingers hauntingly in the mind. Obsessed with the relationship between words and music for reasons of his own, including his father's profession as a composer, Milton would adopt, adapt, and finally reject Shakespeare's form of musical poetics in his own quest to 'join the angel choir.' Offering a new way of looking at the work of two major authors, this study engages and challenges scholars of Shakespeare, Milton, and early modern culture.

Edward III comes to life in a new version by playwright Octavio Solis. Written after England's victory over the Spanish Armada in 1588, Edward III follows the exploits of King Edward III and his son Edward, the Black Prince of Wales. England dominates on the battlefield as the play explores questions of kinghood and chivalry through the actions of King Edward and his son. Octavio Solis's translation of the play provides all of the complexity and richness of the original while renewing the allusions and metaphors lost through time. This translation of Edward III was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print-a new First Folio for a new era.

In this book, Stone effects a return to gender, after many years of neglect by Twenty-First-Century critics, via a methodology of close reading that foregrounds moments of sexual decentering and disequilibrium within the text and in the interstices of the dialogue between Shakespeare and his critics. Issues addressed range from the cross dressing of Viola and Imogen to the cross gartering of Malvolio, the sound of "un" and the uncanny lyric narcissism of Richard II, Hamlet s misogyny, androgyny, and the poison of marital/political "union," Othello s fears of impotence, rumors of Antony s emasculation versus the militant yet nurturing triumphalism of Cleopatra s suicide, and Posthumus s hysterical reaction to the "woman s part" in himself and his compensatory fantasies of parthenogenesis. Stone unpacks ideologically powerful but unsustainable male claims to self-identity and sameness, set over against man s type-gendering of women as the origin of divisive sexual difference, discord, and the dissolution of marriage. Men who blame women for the difference that divides and weakens their sense of unity and sameness to oneself are unconscious that the uncanny feminine is not outside the masculine, its reassuring canny opposite; it is inside the masculine, its uncanny difference from itself.

The Self-Centred Art is a study of the plays of Ben Jonson and the actors who first performed in them. Jakub Boguszak shows how the idiosyncrasies of Jonson's comic characters were thrown into relief in actors' part-scripts-scrolls containing a single actor's lines and cues-some five hundred of which are reconstructed here from Jonson's seventeen extant plays. Reading Jonson's spectating parts, humorous parts, apprentice parts, and plotting parts, Boguszak argues that the kind of self-absorption which defines so many of Jonson's famous comic creations would have come easily to actors relying on these documents. Jonson's actors would have moreover worked on their cues, studied their speeches, and thought about the information excluded from their parts differently, depending on the type they had to play. Boguszak thus shows that Jonson brilliantly adapted his comedies to the way the actors worked, making the actors' self-centredness serve his art. This book addresses Jonson's dealings with the actors as well as the printers of his plays and supplements the discussion of different types of parts with a colourful range of case studies. In doing so, it presents a new way of understanding not just Ben Jonson, but early modern theatre at large.

First published in English in 1965, this book discusses the roots and development of the dumb show as a device in Elizabethan drama. The work provides not only a useful manual for those who wish to check the ocurrence of dumb shows and the uses to which they are put; it also makes a real contribution to a better understanding of the progress of Elizabethan drama, and sheds new light on some of the lesser known plays of the period.

Expanding the scholarly conversation about anonymity in Renaissance England, this essay collection explores the phenomenon in all its variety of methods and genres as well as its complex relationship with its alter ego, attribution studies. Contributors address such questions as these: What were the consequences of publishing and reading anonymous texts for Renaissance writers and readers? What cultural constraints and subject positions made anonymous publication in print or manuscript a strategic choice? What are the possible responses to Renaissance anonymity in contemporary classrooms and scholarly debate? The volume opens with essays investigating particular texts-poetry, plays, and pamphlets-and the inflection each genre gives to the issue of anonymity. The collection then turns to consider more abstract consequences of anonymity: its function in destabilizing scholarly assumptions about authorship, its ethical ramifications, and its relationship to attribution studies.

This edition celebrates King Henry VI Part 2 as one of the most exciting and dynamic plays of the English renaissance theatre, with its exploration of power politics and social revolution and its focus on the relationship between divine justice and sin. An extensive discussion of performance history traces the play's progress on stage from abridgement and adaptation to full historical epic. A survey of criticism discusses the wide range of responses provoked by the play's handling of its historical theme, and concludes by focusing on the element of burlesque in the attempted social revolution portrayed.

First published in English 1961, this reissue relates the problems of form and style to the development of dramatic speech in pre-Shakespearean tragedy. The work offers positive standards by which to assess the development of pre-Shakespearean drama and, by tracing certain characteristics in Elizabethan tragedy which were to have a bearing on Shakespearea (TM)s dramatic technique, helps to illuminate the foundations on which Shakespeare built his dramatic oeuvre.

Working Subjects in Early Modern English Drama investigates the ways in which work became a subject of inquiry on the early modern stage and the processes by which the drama began to forge new connections between labor and subjectivity in the period. The essays assembled here address fascinating and hitherto unexplored questions raised by the subject of labor as it was taken up in the drama of the period: How were laboring bodies and the goods they produced, marketed and consumed represented onstage through speech, action, gesture, costumes and properties? How did plays participate in shaping the identities that situated laboring subjects within the social hierarchy? In what ways did the drama engage with contemporary discourses (social, political, economic, religious, etc.) that defined the cultural meanings of work? How did players and playwrights define their own status with respect to the shifting boundaries between high status/low status, legitimate/illegitimate, profitable/unprofitable, skilled/unskilled, formal/informal, male/female, free/bound, paid/unpaid forms of work? Merchants, usurers, clothworkers, cooks, confectioners, shopkeepers, shoemakers, sheepshearers, shipbuilders, sailors, perfumers, players, magicians, servants and slaves are among the many workers examined in this collection. Offering compelling new readings of both canonical and lesser-known plays in a broad range of genres (including history plays, comedies, tragedies, tragi-comedies, travel plays and civic pageants), this collection considers how early modern drama actively participated in a burgeoning, proto-capitalist economy by staging England's newly diverse workforce and exploring the subject of work itself.

Questioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate's History of King Lear (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society. In identifying and relocating different adaptive gestures within this historical framework, Bradley explores the link between the critical and the creative in the history of Shakespearean adaptation. Focusing on works such as Gordon Bottomley's King Lear's Wife (1913), Edward Bond's Lear (1971), Howard Barker's Seven Lears (1989), and the Women's Theatre Group's Lear's Daughters (1987), Bradley theorizes that modern rewritings of Shakespeare constitute a new type of textual interaction based on a simultaneous double-gesture of collaboration and rejection. She suggests that this new interaction provides constituent groups, such as the feminist collective who wrote Lear's Daughters, a strategy to acknowledge their debt to Shakespeare while writing against the traditional and negative representations of femininity they see reflected in his plays.

First Published in 1999. This is Volume I of a collection of Elizabethan and Jacobean journals from 1591 to and 1610 and includes an Elizabethan journal, being a record of those things most talked of during the years 1591-1594.

Masculinity and Marian Efficacy in Shakespeare's England offers a new approach to evaluating the psychological 'loss' of the Virgin Mary in post-Reformation England by illustrating how, in the wake of Mary's demotion, re-inscriptions of her roles and meanings only proliferated, seizing hold of national imagination and resulting in new configurations of masculinity. The author surveys the early modern cultural and literary response to Mary's marginalization, and argues that Shakespeare employs both Roman Catholic and post-Reformation views of Marian strength not only to scrutinize cultural perceptions of masculinity, but also to offer his audience new avenues of exploring both religious and gendered subjectivity. By deploying Mary's symbolic valence to infuse certain characters, and dramatic situations with feminine potency, Espinosa analyzes how Shakespeare draws attention to the Virgin Mary as an alternative to an otherwise unilaterally masculine outlook on salvation and gendered identity formation.

From William Langland's Piers Plowman, through the highly polemicized literary culture of fifteenth-century Lollardy, to major Reformation writers such as Simon Fish, William Tyndale and John Bale, and into the 1590s, this book argues for a vital reassessment of our understanding of the literary and cultural modes of the Reformation. It argues that the ostensibly revolutionary character of early Protestant literary culture was deeply indebted to medieval satirical writing and, indeed, can be viewed as a remarkable crystallization of the textual movements and polemical personae of a rich, combative tradition of medieval writing which is still at play on the London stage in the age of Marlowe and Shakespeare. Beginning with a detailed analysis of Piers Plowman, this book traces the continued vivacity of combative satirical personae and self-fashionings that took place in an appropriative movement centred on the figure of the medieval labourer. The remarkable era of Protestant 'plowman polemics' has too often been dismissed as conventional or ephemeral writing too stylistically separate to be linked to Piers Plowman, or held under the purview of historians who have viewed such texts as sources of theological or documentary information, rather than as vital literary-cultural works in their own right. Radical Pastoral, 1381-1594 makes a vigorous case for the existence of a highly politicised tradition of 'polemical pastoral' which stretched across the whole of the sixteenth century, a tradition that has been largely marginalised by both medievalists and early modernists.

In our own age, the engagement with death has been discretely narrowed into a brief process of formal commemoration and burial, but in Shakespeare's time it was ritualized into the very fabric of everyday life, where the reminders of death, the journey to the grave, and the moment of expiry were all central to the cultural engagement with mortality in post-Reformation England. Inevitably, this way of seeing the world impacted the writing of Shakespeare and his contemporaries, not only in relation to the intellectual content of the drama but with regard to its visual impressions as well. Emblems of Mortality explores the relationship between Shakespeare's theatre and popular memento mori and funereal iconography of the Renaissance, combining cultural studies and historicism with semiotic analysis of period iconography. Through close reading of Elizabethan signs and sign systems with attention to historical context, the work seeks to demonstrate the quality and intention of some of Shakespeare's theatrical designs in a way that will appeal to scholars of drama and students of Shakespeare's work.

Based on the proven maxim that "money makes the world go round", this study, drawing from Shakespeare's texts, presents a lexicon of common words as well as a variety of familiar familial and cultural sitations in an economic context. Making constant recourse to well-known material from Shakespeare's plays, Turner demonstrates that terms of money and value permeate our minds and lives even in our most mundane moments. His book offers a new, humane, evolutionary economics that fully expresses the moral, spiritual, and aesthetic relationships among persons, and between humans and nature. Playful and incisive, Turner's book offers a way to engage the wisdom of Shakespeare in everyday life in a trenchant prose that is accessible to scholars and to the general reader.

Brings a fresh and contemporary approach to study of classic texts and plays so will appeal to students Easy to adapt to courses as looks at canonical plays which are frequently studied (Hamlet, Macbeth, Merchant of Venice) Written in a personal and accessible style so easy for readers of all levels to understand The author has a high media profile and is well-known and well-connected in the area, as well as being an award-winning academic

Raphael Holinshed's account of English history from 1377-1485 in the Chronicles of England, Scotland, and Ireland is most well-known as the source of Shakespeare's English history plays. Although the Chronicles are widely read and studied, published scholarly opinion, with a few exceptions, has been limited to the discipline of history. This book explores the historiographic materials of the Chronicles through a literary lens, focusing on how Renaissance men and women read historical texts, framed by these questions: How did Holinshed understand and view history? What were his motives in composing the Chronicles? What did sixteenth- and seventeenth-century English readers learn from the work? Igor Djordjevic explores both the lexical and semantic dimensions as well as lessons in both foreign and domestic policy in the 1577 and 1587 texts and in writers who used or appropriated the Chronicles, including Shakespeare, Daniel, Heywood, and Milton. This study revaluates our understanding of Renaissance chronicle history and the impact of Holinshed on Tudor, Jacobean, and Caroline political discourse; the Chronicles emerge not as a series of rambling, digressive episodes characteristic to a dying medieval genre, but as the preserver of national memory, the teacher of prudent policy, and a builder of the commonwealth ideal.

First Published in 1999. This is Volume III of a collection of Elizabethan and Jacobean journals from 1591 to and 1610 and includes an Elizabethan journal, being a record of those things most talked of during the years 1599-1603.

First published in 1958. This is the final Volume V of a collection of Elizabethan and Jacobean journals from 1591 to and 1610 and includes an Elizabethan journal, being a record of those things most talked of during the years 1607-1610.