From Burbage at the Globe to Branagh on film, this edition tells the story of Hamlet in production, relating stage interpretations to developments in the theater, in literary criticism and in society. This detailed stage history records an ongoing process of discovery, as successive performers have found what it is in the play that will speak most powerfully to the audiences of their own times. The introduction focuses not only on star Hamlets, but on whole productions of the play--including supporting players and, in this century, direction and design.

Domestic tragedy was an innovative genre, suggesting that the lives and sufferings of ordinary people were worthy of the dramatic scope of tragedy. In this compelling study, Whipday revises the narrative of Shakespeare's plays to show how this genre, together with neglected pamphlets, ballads, and other forms of 'cheap print' about domestic violence, informed some of Shakespeare's greatest works. Providing a significant reappraisal of Hamlet, Othello, and Macbeth, the book argues that domesticity is central to these plays: they stage how societal and familial pressures shape individual agency; how the integrity of the house is associated with the body of the housewife; and how household transgressions render the home permeable. Whipday demonstrates that Shakespeare not only appropriated constructions of the domestic from domestic tragedies, but that he transformed the genre, using heightened language, foreign settings, and elite spheres to stage familiar domestic worlds.

Much Ado about Nothing has always been popular on the stage. This edition pays especial attention to the history and range of theatrical interpretation, in which famous actors, from the time of Garrick to the present, have appeared as the sparring lovers Benedick and Beatrice. A full commentary includes annotation of the many sexual jokes in the play that have been obscured by the complexity of Elizabethan language. In this new edition, Travis D. Williams reviews recent stage, television, film and critical interpretations of the play, considering treatment of the play's special interest in language, bodies and gender.

'This is tragedy naked, godless and unredeemed' Kenneth Tynan An embittered Roman general returns from war, having captured the Queen of the Goths and her three sons. Sacrificing the eldest in memory of his own sons killed in battle, he provokes the queen's unending hatred. And when she gains power by her marriage to the new emperor of Rome, she quickly begins to plot a murderous revenge of barely conceivable cruelty, in Shakespeare's first and most savagely bloody tragedy. Used and Recommended by the National Theatre General Editor Stanley Wells Edited by Sonia Massai Introduction by Jacques Berthoud

'Language is his power. His characters are precisely the words they speak' A. S. Byatt A young man is condemned to death for breaking a law forbidding sex outside marriage. When his sister pleads with the Lord Angelo to save him, he offers her a bargain - her brother's life in exchange for her virginity. One of Shakespeare's most enigmatic plays, Measure for Measure is a morally complex drama of intricate moves and countermoves that explores falsehood, justice and humanity's best and basest instincts. Used and Recommended by the National Theatre General Editor Stanley Wells Edited by J. M. Nosworthy Introduction by Julia Briggs

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 third edition of Twelfth Night retains the text edited and annotated by Elizabeth Story Donno for the first edition of 1985, and features an updated introduction by Penny Gay, which focuses on recent scholarship and performance history. Building on her Introduction to the second edition, Gay stresses the play's theatricality, its elaborate linguistic games and its complex use of Ovidian myths. She analyses the delicate balance Shakespeare strikes in Twelfth Night between romance and realism, and explores representations of gender, sexuality and identity in the text. A selection of new photographs completes the edition.

Our Signet Classic Shakespeare Series was extensively revised in 1998. We offer the best of everything -- unforgettable works edited by eminent Shakespeare scholars, comprehensive notes on the text, an essay on Shakespeare's life and times, source material, critical commentaries, extensive bibliographies, and footnotes. And there's more
-- Grow with the times by including both historical and thoroughly contemporary critical commentary on such issues as feminist, political, and theatrical interpretations of the plays -- with recent full-length essays by such respected scholars as Frank Kermode, Carolyn Heilbrun, Michael Goldman, Linda Bamber, and many others.
-- Provide more bibliographic listings and more up-to-date and relevant listings of pertinent books and articles in the Suggested Reference Section than the competition offers.
-- Feature essays on the Performance or Stage History of each play, written by Sylvan Barnet.

This tragi-comedy is one of the plays we know Shakespeare worked with a collaborator on -- John Fletcher -- and is based on Chaucer's "Knight's Tale." The Arden Third series edition was first published in 1996. This revised edition includes a new introductory essay bringing the edition up-to-date in terms of both the play's performance and critical history, and in particular with current thinking about the nature of Shakespeare's collaboration with other playwrights. As scholars have begun to discover more about this aspect of his career, interest in the play has grown. This revised edition is ideal for undergraduate study, offering on-page annotations to the play text as well as a lengthy, illustrated introduction.

No Fear Shakespeare gives you the complete text of "Henry IV Part One and Two" on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains

• The complete text of the original play
• A line-by-line translation that puts Shakespeare into everyday language
• A complete list of characters with descriptions
• Plenty of helpful commentary

Who said "Neither a lender or borrower be", who loved "not wisely but too well" and whose "salad days" are now behind her? If you have ever struggled to remember a Shakespeare quote, this is the book for you. It has over 3,000 quotes from single lines to quite long extracts, organized by topic and by play, with a key word index making it very easy to use. The dictionary also includes a glossary of unfamiliar terms and a brief biography of Shakespeare. It is very easy to dip into by word, theme or by play and the key word index means you can track down a half-remembered quote easily. A beautifully produced small format hardback with a colourful jacket, book ribbon and a bookplate, this is great gift for literary types, after dinner speakers and crossword fillers!

No Fear Shakespeare gives you the complete text of "As You Like It" on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains

• The complete text of the original play
• A line-by-line translation that puts Shakespeare into everyday language
• A complete list of characters with descriptions
• Plenty of helpful commentary

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 edition. Excerpt: ...Though all things foul would wear the brows of grace, Yet grace must still look so. Macd. I have lost my hopes. Mal. Perchance even there where I did find my doubts. Why in that rawness left you wife and child,0 Those precious motives, those strong knots of love, Without leave-taking? I pray you, Let not my jealousies be your dishonours, But mine own safeties. You may be rightly just, 30 Whatever I shall think. Macd. Bleed, bleed, poor country: Great tyranny, lay thou thy basis sure, For goodness dare not check thee: wear thou thy wrongs; The title is affeer'd. Tare thee well, lord: I would not be the villain that thou think'st For the whole space that's in the tyrant's grasp And the rich East to boot. Mai. Be not offended: I speak not as in absolute fear of you. I think our country sinks beneath the yoke; It weeps, it bleeds, and each new day a gash Is added to her wounds: I think withal There would be hands uplifted in my right; And here from gracious England have I offer Of goodly thousands: but for all this, When I shall tread upon the tyrant's head, Or wear it on my sword, yet my poor country Shall have more vices than it had before, More suffer and more sundry ways than ever, By him that shall succeed. Macd. What should he be? Mal. It 0 is myself I mean: in whom I know All the particulars of vice so grafted That, when they shall be open'd, black Macbeth Will seem as pure as snow, and the poor state Esteem him as a lamb, being compared With my confineless harms. Macd. Not in the legions Of horrid hell can come a devil more damn'd In evils to top Macbeth. Mai. I grant him bloody, Luxurious, avaricious, false, deceitful, Sudden, malicious, smacking of every sin That has a name: but there's no bottom, none, 60 In my voluptuousness: your wives, ...

Full comprehension of the plays is gained from the line-by-line modern English translation given on facing pages. Understanding of the plays is increased as pupils take part in the variety of related activities included in each book. The significance of the plays is reinforced by sections discussing Shakespeare's life, works and theatre. Pupils are encouraged to understand the language, characters, structure and themes of the plays by completion of practical exercises.

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 edition. Excerpt: ...Though all things foul would wear the brows of grace, Yet grace must still look so. Macd. I have lost my hopes. Mal. Perchance even there where I did find my doubts. Why in that rawness left you wife and child,0 Those precious motives, those strong knots of love, Without leave-taking? I pray you, Let not my jealousies be your dishonours, But mine own safeties. You may be rightly just, 30 Whatever I shall think. Macd. Bleed, bleed, poor country: Great tyranny, lay thou thy basis sure, For goodness dare not check thee: wear thou thy wrongs; The title is affeer'd. Tare thee well, lord: I would not be the villain that thou think'st For the whole space that's in the tyrant's grasp And the rich East to boot. Mai. Be not offended: I speak not as in absolute fear of you. I think our country sinks beneath the yoke; It weeps, it bleeds, and each new day a gash Is added to her wounds: I think withal There would be hands uplifted in my right; And here from gracious England have I offer Of goodly thousands: but for all this, When I shall tread upon the tyrant's head, Or wear it on my sword, yet my poor country Shall have more vices than it had before, More suffer and more sundry ways than ever, By him that shall succeed. Macd. What should he be? Mal. It 0 is myself I mean: in whom I know All the particulars of vice so grafted That, when they shall be open'd, black Macbeth Will seem as pure as snow, and the poor state Esteem him as a lamb, being compared With my confineless harms. Macd. Not in the legions Of horrid hell can come a devil more damn'd In evils to top Macbeth. Mai. I grant him bloody, Luxurious, avaricious, false, deceitful, Sudden, malicious, smacking of every sin That has a name: but there's no bottom, none, 60 In my voluptuousness: your wives, ...

This volume features a wide range of plays that reimagine Shakespeare works from Borderlands perspectives. For several decades, Chicanx and Indigenous theatermakers have been repurposing Shakespeare's plays to reflect the histories and lived realities of the US-Mexico Borderlands and to create space to tell stories of and for La Frontera. Celebrating this rich tradition, The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en La Frontera brings a wide range of Borderlands Shakespeare plays together for the first time in a multi-volume open-access scholarly edition. This anthology celebrates the dynamic, multilingual reworking of canon and place that defines Borderlands Shakespeare, and it situates these geographically and temporally diverse plays within the robust study of Shakespeare's global afterlives. The editors offer a critical framework for understanding the artistic and political traditions that shape these plays and the place of Shakespeare within the multilayered colonial histories of the region. Borderlands Shakespeare plays, they contend, do not simply reproduce Shakespeare in new contexts but rather use his work in innovative ways to negotiate colonial power and to envision socially just futures.

The Cambridge School Shakespeare Series approaches the plays in a new way, by encouraging students to actively examine them, working in groups as well as individually, and to treat them as scripts to be re-created, with theatrical and dramatic qualities to explore.

George Lyman Kittredge's insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume.

These new editions have specific emphasis on the performance histories of the plays (on stage and screen).

Features of each edition include:

- The original introduction to the Kittredge Edition

- Editor's Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play's performance history on stage and screen.

- Explanatory Notes. The explanatory notes either expand on Kittredge's superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare's sometimes demanding language.

- Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices.

- How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare's words allow the reader to envision the work "off the page."

- Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare's life. Some of the Chronologies include time chronologies within the plays.

- Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions' Introduction.

- Select Bibliography & Filmography

Each New Kittredge edition also includes screen grabs from major productions, for comparison and scene study.

This is the entire unabridged play brought to life in full colour! Although "The Tempest" was the first play to appear in the first official Folio printing of Shakespeare's plays, it was almost certainly the last play he wrote. It held pride of place in that first collection, presumably because the editors thought it to be his masterpiece; a crowning glory to the career of the most brightest of playwrights. Needless to say, we had to select the very best artists to do it justice, and to bring you the stunning artwork that you've come to expect from our titles. Poignant to the last, this book is a classic amongst classics.

The acclaimed Pelican Shakespeare series edited by A. R. Braunmuller and Stephen Orgel The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare's time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With definitive texts and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Shakespeare and Text is built on the research and experience of a leading expert on Shakespeare editing and textual studies. The first edition has proved its value as an indispensable and unique guide to its topic. It takes Shakespeare readers to the very foundation of his work, explaining how his plays first took shape in the theatre where writing was part of a larger collective enterprise. The account examines the early modern printing industry that produced the earliest surviving texts of Shakespeare's plays. It describes the roles of publisher and printer, the controls exerted through the Stationers' Company, and the technology of printing. A chapter is devoted to the book that gathered Shakespeare's plays together for the first time, the First Folio of 1623. Shakespeare and Text goes on to survey the major developments in textual studies over the past century. It builds on the recent upsurge of interest in textual theory, and deals with issues such as collaboration, the instability of the text, the relationship between theatre culture and print culture, and the book as a material object. Later chapters examine the current critical edition, explaining the procedures that transform early texts in to a very different cultural artefact, the edition in which we regularly encounter Shakespeare. The new revised edition, which builds on Jowett's research for the New Oxford Shakespeare, engages with scholarship of the past decade, work that has transformed our understanding of textual versions, has opened up the taxonomy of Shakespeare's texts, and has significantly extended the picture of Shakespeare as a co-author. A new chapter describes digital text, digital editing, and their interface with the traditional media.