James Orchard Halliwell-Phillipps (1820 1889) was an enthusiastic collector of books on Shakespeare (including nearly all the pre-1660 editions) and a respected and prolific scholar of Elizabethan literature. His extensive collection is now housed at Edinburgh University Library. This volume contains a selection of his early writings and includes: 'A catalogue of the early editions of Shakespeare's plays and of the commentaries and other publications illustrative of his works' (1841); 'An account of the only known manuscript of Shakespeare's plays, comprising some important variations and corrections in the Merry Wives of Windsor' (1843); 'An introduction to Shakespeare's Midsummer Night's Dream' (1841); 'On the character of Sir John Falstaff, as originally exhibited by Shakespeare in the two parts of King Henry IV' (1841); 'Curiosities of Modern Shakespearian Criticism' (1853); 'Observations on some of the manuscript emendations of the text of Shakespeare and are they copyright?' (1853).

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 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.

Characteristics of Women (1832) by Anna Jameson was the first attempt by a woman to analyse the characteristics of twenty-three heroines of Shakespeare's plays. In this book, Jameson, an English writer, feminist, and art historian, addresses problems of women's education and participation in public life while providing insightful and original readings of Shakespeare's women. Jameson classifies the heroines into four categories, two of which - characters of affection and historical characters - are presented in Volume 2. Hermione, Desdemona, Imogen, and Cordelia are the characters in whom moral sentiments and affections predominate, while Cleopatra, Octavia, Volumnia, Constance of Bretagne, Elinor of Guienne, Blanche of Castile, Margaret of Anjou, Katherine of Arragon, and Lady Macbeth are examples of historical characters. Illustrated with fifty attractive etchings made by the author herself, this eloquent book is a must-have for Shakespeare collectors, students of women's studies and others interested in nineteenth-century literary criticism.

'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 The Tempest, Two Gentlemen of Verona, The Merry Wives of Windsor, Twelfth Night, Measure for Measure, Much Ado about Nothing and A Midsummer Night's Dream.

'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.

'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.

'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 Titus Andronicus, King Lear, Romeo and Juliet, Hamlet and Othello.

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.

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.

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.

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.

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.

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.

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.

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.

C. J. Sisson (1885-1966) was Lord Northcliffe Professor of Modern English Literature in the University of London. His main research interest was Shakespeare, but in this study, first published in 1936, he explores what legal records can tell us about lost early modern plays and entertainments. The Court of Star Chamber prosecuted a number of offences against moral order and frequently took action against the dramatic representation of sedition and libel. Its records often provide the only evidence of Tudor plays and entertainments never printed and lost in manuscript. Sisson explores several cases in detail, identifying the people who filed complaints against libel as well as exploring all possible evidence about what the plays contained. Sisson's study remains of value as the first to uncover archival information about lost works of Chapman, Dekker, Ford and Webster as well as anonymous jigs, verse satires and libels.