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.

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.

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.

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.

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.

This volume presents a close reading of instances of Shakespearean quotations, allusions, imagery and rhetoric found in Karl Marx's collected works and letters, which provides evidence that Shakespeare's writings exerted a formative influence on Marx and the development of his work. Through a methodology of intertextual and interlingual close-reading, this study provides evidence of the extent to which Shakespeare influenced Marx and to which Marxism has Shakespearean roots. As a child, Marx was home-schooled in Ludwig von Westphalen's little academy, as it were, which was Shakespeare- and literary-focused. The group included von Westphalen's daughter, who later became Marx's wife, Jenny. The influence of Shakespeare in Marx's writings shows up as early as his school essays and love letters. He modelled his early journalism partly on ideas and rhetoric found in Shakespeare's plays. Each turn in the development of Marx's thought-from Romantic to Left Hegelian and then to Communist-is achieved in part through his use of literature, especially Shakespeare. Marx's mature texts on history, politics and economics-including the famous first volume of Das Kapital-are laden with Shakespearean allusions and quotations. Marx's engagement with Shakespeare resulted in the development of a framework of characters and imagery he used to stand for and anchor the different concepts in his political critique. Marx's prose style uses a conceit in which politics are depicted as performative. Later, the Marx family-Marx, Jenny and their children-was central in the late-19th-century revival of Shakespeare on the London stage, and in the growth of academic Shakespeare scholarship. Through providing evidence for a formative role of Shakespeare in the development of Marxism, the present study suggests a formative role for literature in the history of ideas.

In a novel reading of Shakespeare's plays, this book addresses an observation first made many decades ago, that Shakespeare appears to neglect the intellectual upheavals that astronomy brought about in his lifetime. The author examines temporal, situational, and verbal anomalies in Hamlet and other plays using hermeneutic-dialectic methodology, and finds a consistent pattern of interpretation that is compatible with the history of astronomy and with the development of modern cosmology. He also demonstrates how Shakespeare takes into account beliefs about the nature of the heavens from the time of Pythagoras up to and including discoveries and theories in the first decade of the seventeenth century. The book makes the case that, as in many other fields, Shakespeare's celestial knowledge is far beyond what was commonly known at the time. Students and teachers interested in Shakespeare's alleged indifference towards, or ignorance of, the celestial sciences will find this book illuminating, as will historians of science and scholars whose work focuses on epistemology and its relationship to the canon, and on how Shakespeare acquired the data that his plays deliver.

Shakespeare's Returning Warriors - and Ours takes its primary inspiration from the contemporary U.S. Post-Traumatic Stress Disorder (PTSD) crisis in soldiers transitioning from battlefields back into society. It begins by examining how ancient societies sought to ease the return of soldiers in order to minimize PTSD, though the term did not become widely used until the early 1980s. It then considers a dozen or so Shakespearean plays that depict such transitions at the start, focusing on the tragic protagonists and antagonists in paradigmatic "returning warrior" plays, including Titus Andronicus, Julius Caesar, Othello, Macbeth, Antony and Cleopatra, and Coriolanus, and exploring the psychological and emotional ill-fits that prevent warrriors from returning to the status quo ante after battlefield triumphs, or even surviving the psychic demons and moral disequilibrium they unleash on their domestic settings and themselves. It also analyzes the history plays, several comedies, and Hamlet as plays that partly conform to and also significantly deviate from the basic paradigm. The final chapter discusses recent attempts to effect successful transitions, often using Shakespeare's plays as therapy, and depictions of attempts to wage warfare without inducing PTSD. Through the investigation of the tragedies and model returning warrior experiences, Shakespeare's Returning Warriors - and Ours highlights a central and understudied feature of Shakespeare's plays and what they can teach us about PTSD today when it is a widespread phenomenon in American society.

Richard III is one of the great Shakespearean characters and roles. James R Siemon examines the attraction of this villain to audiences and focuses on how beguiling, even funny, he can be, especially in the earlier parts of the play. Siemon also places King Richard III in its historical context; as Elizabeth I had no heirs the issue of succession was a very real one for Shakespeare's audience. The introduction is well-illustrated and provides a comprehensive account of the play, critical approaches to it and its varied stage history.

The edition also provides a clear and authoritative playtext, edited to the most rigorous standards of scholarship, with detailed notes and commentary on the same page. With a wealth of helpful and incisive commentary the Arden Shakespeare is the finest edition of Shakespeare you can find, giving a deeper understanding and appreciation of his work.

William Shakespeare's Twelfth Night (c.1600) is one of his most captivating plays. A comedy of mistaken identities, it has given rise to thought-provoking debates around such issues as gender identity and role-playing, manipulation and deception.

Taking the form of a sourcebook, this guide to Shakespeare's spirited play offers:

• extensive introductory comment on the contexts, critical history and performance of the text, from publication to the present
• annotated extracts from key contextual documents, reviews, critical works and the text itself
• cross-references between documents and sections of the guide, in order to suggest links between texts, contexts and criticism
• suggestions for further reading.

Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Twelfth Night and seeking not only aguide to the play, but a way through the wealth of contextual and critical material that surrounds Shakespeare's text.

Shakespeare in Singapore provides the first detailed and sustained study of the role of Shakespeare in Singaporean theatre, education, and culture. This book tracks the role and development of Shakespeare in education from the founding of modern Singapore to the present day, drawing on sources such as government and school records, the entire span of Singapore's newspaper archives, playbills, interviews with educators and theatre professionals, and existing academic sources. By uniting the critical interest in Singaporean theatre with the substantial body of scholarship that concerns global Shakespeare, the author overs a broad, yet in-depth, exploration of the ways in which Singaporean approaches to Shakespeare have been shaped by, and respond to, cultural work going on elsewhere in Asia. A vital read for all students and scholars of Shakespeare, Shakespeare in Singapore offers a unique examination of the cultural impact of Shakespeare, beyond its usual footing in the Western world.

Floating daggers, enchanted handkerchiefs, supernatural storms, and moving statues have tantalized Shakespeare's readers and audiences for centuries. The essays in Shakespeare's Things: Shakespearean Theatre and the Non-Human World in History, Theory, and Performance renew attention to non-human influence and agency in the plays, exploring how Shakespeare anticipates new materialist thought, thing theory, and object studies while presenting accounts of intention, action, and expression that we have not yet noticed or named. By focusing on the things that populate the plays-from commodities to props, corpses to relics-they find that canonical Shakespeare, inventor of the human, gives way to a lesser-known figure, a chronicler of the ceaseless collaboration among persons, language, the stage, the object world, audiences, the weather, the earth, and the heavens.

This book considers early modern and postmodern ideals of health, vigor, ability, beauty, well-being, and happiness, uncovering and historicizing the complex negotiations among physical embodiment, emotional response, and communally-sanctioned behavior in Shakespeare's literary and material world. The volume visits a series of questions about the history of the body and how early modern cultures understand physical ability or vigor, emotional competence or satisfaction, and joy or self-fulfillment. Individual essays investigate the purported disabilities of the "crook-back" King Richard III or the "corpulent" Falstaff, the conflicts between different health-care belief-systems in The Taming of the Shrew and Hamlet, the power of figurative language to delineate or even instigate puberty in the Sonnets or Romeo and Juliet, and the ways in which the powerful or moneyed mediate the access of the poor and injured to cure or even to care. Integrating insights from Disability Studies, Health Studies, and Happiness Studies, this book develops both a detailed literary-historical analysis and a provocative cultural argument about the emphasis we place on popular notions of fitness and contentment today.