Hyde Park (1632) is one of the best-loved comedies of James Shirley, considered to be one of the most important Caroline dramatists. The play showcases strong female characters who excel at rebuking the outlandish courtship of various suitors. Shirley's comic setting, London's Hyde Park, offers ample opportunity for witty dialogue and sport - including foot and horse races - across three love plots. This is the first critical edition of the play, including a wide-ranging introduction and extensive commentary and textual notes. Paying special attention to the culture of Caroline London and its stage, the Revels Plays edition unpicks Shirley's politics of courtship and consent while also underlining the play's dynamics of class and power. A detailed performance history traces productions from 1632, across the Restoration to the present day, including that of the Royal Shakespeare Company in 1987. A textual history of the play's first quarto determines how it was printed and what relationship Hyde Park has to other texts by Shirley from the same publishers. -- .

Emerging in several different versions during the author's lifetime, Lewis Carroll's Alice novels have a publishing history almost as magical and mysterious as the stories themselves. Zoe Jaques and Eugene Giddens offer a detailed and nuanced account of the initial publication of Alice's Adventures in Wonderland and Through the Looking-Glass and investigate how their subsequent transformations through print, illustration, film, song, music videos, and even stamp-cases and biscuit tins affected the reception of these childhood favourites. The authors consider issues related to the orality of the original tale and its impact on subsequent transmission, the differences between the manuscripts and printed editions, and the politics of writing and publishing for children in the 1860s. In addition, they take account of Carroll's own responses to the books' popularity, including his writing of major adaptations and a significant body of meta-textual commentary, and his reactions to the staging of Alice in Wonderland. Attentive to the child reader, how changing notions of childhood identity and needs affected shifting narratives of the story, and the representation of the child's body by various illustrators, the authors also make a significant contribution to childhood studies.

Emerging in several different versions during the author's lifetime, Lewis Carroll's Alice novels have a publishing history almost as magical and mysterious as the stories themselves. Zoe Jaques and Eugene Giddens offer a detailed and nuanced account of the initial publication of Alice's Adventures in Wonderland and Through the Looking-Glass and investigate how their subsequent transformations through print, illustration, film, song, music videos, and even stamp-cases and biscuit tins affected the reception of these childhood favourites. The authors consider issues related to the orality of the original tale and its impact on subsequent transmission, the differences between the manuscripts and printed editions, and the politics of writing and publishing for children in the 1860s. In addition, they take account of Carroll's own responses to the books' popularity, including his writing of major adaptations and a significant body of meta-textual commentary, and his reactions to the staging of Alice in Wonderland. Attentive to the child reader, how changing notions of childhood identity and needs affected shifting narratives of the story, and the representation of the child's body by various illustrators, the authors also make a significant contribution to childhood studies.

This Element traces the varied and magical history of Christmas publications for children. The Christmas book market has played an important role in the growth of children's literature, from well-loved classics to more ephemeral annuals and gift books. Starting with the eighteenth century and continuing to recent sales successes and picturebooks, Christmas Books for Children investigates continuities and new trends in this hugely significant part of the children's book market.

This is an invaluable introductory guide for the English student who needs to decipher a page from a play, or a facsimile equivalent, from the Shakespearean period. The original quartos and folios of early play texts are increasingly subject to editorial and critical scrutiny, and electronic facsimiles are making the originals accessible to undergraduate and graduate students. Giddens provides a practical 'how to' guide to the original printed texts of Shakespeare and his contemporaries. He explains how the features of the play text came about, what the different elements mean, and who created them. The book provides that important first step towards bibliography and critical editing, presenting a detailed account of how to read these early texts and how they have been turned into the modern editions we are accustomed to.

This is an invaluable introductory guide for the English student who needs to decipher a page from a play, or a facsimile equivalent, from the Shakespearean period. The original quartos and folios of early play texts are increasingly subject to editorial and critical scrutiny, and electronic facsimiles are making the originals accessible to undergraduate and graduate students. Giddens provides a practical 'how to' guide to the original printed texts of Shakespeare and his contemporaries. He explains how the features of the play text came about, what the different elements mean, and who created them. The book provides that important first step towards bibliography and critical editing, presenting a detailed account of how to read these early texts and how they have been turned into the modern editions we are accustomed to.

Collections XVII is the latest volume in the Malone Society's pioneering series of editions of miscellaneous documents relating to English theatre and drama before 1642. It is likely to be of special interest not only to early theatre historians but to those working on Tudor and Stuart court and civic culture, manuscript writing, household drama and early modern women's writing, as it publishes new material in each of these fields. The book includes items such as Revels Office accounts, a playscript fragment, entertainments, poems and civic shows. Many of these documents are previously unpublished, and have been freshly edited and transcribed; each has an introduction giving details of its date, authorship and historical importance. The volume will be essential reading for postgraduates and university teachers in early modern drama, theatre history and women's writing. -- .

The Complete Works of James Shirley contains a corpus of around 50 works, including plays, poems, grammars and prose. Shirley (1596-1666) is arguably the most significant dramatic writer of the late English Renaissance, but the last scholarly collections of his plays appeared in the nineteenth century and this Oxford edition is the first to provide a complete works. Shirley was a quintessentially Caroline writer whose work echoes and builds upon the art of his Elizabethan and Jacobean predecessors. Caroline drama would be unthinkable without Shirley, who enjoyed a great reputation as a playwright both at court and in the theatres. This comprehensive scholarly edition provides well-annotated modernized texts of the full range of Shirley's remarkable output, not just of his favourite plays. Each work is introduced by an essay examining dating and background, sources, context and performance, and by one which discusses the textual situation and production of the early editions. An extensive footnoted commentary is provided for all texts, to help the modern reader with difficult passages, explain historical usage and customs and to clarify meaning in context. Volume 7 contains four plays written between c. 1636 and 1639, The Constant Maid, The Doubtful Heir, The Gentleman of Venice and The Politician. The plays were probably staged in Ireland during Shirley's time as resident dramatist for the Werburgh Street Theatre in Dublin from 1636 to 1640, though they were not printed until his return to London in 1640 for The Constant Maid and in the 1650s for the others. Shirley's full generic range can been seen in this volume: The Constant Maid is a London-based comedy, The Doubtful Heir and The Gentleman of Venice are tragi-comedies set in Europe and The Politician draws on Hamlet for both its Scandinavian setting and its tragic genre.

King John - today remembered as the villainous opponent of Robin Hood and the Magna Carta - was for Shakespeare and his audience a heroic figure who stood up to England's enemies. This Penguin Shakespeare edition is edited by R. L. Smallwood with an introduction by Eugene Giddens. 'This England never did, nor never shall, Lie at the proud foot of a conqueror' Under the rule of King John, England is forced into war when the French challenge the legitimacy of John's claim to the throne and determine to install his nephew Arthur in his place. But political principles, hypocritically flaunted, are soon forgotten, as the French and English kings form an alliance based on cynical self-interest. And as the desire to cling to power dominates England's paranoid and weak-willed king, his country is threatened with disaster. This book contains a general introduction to Shakespeare's life and Elizabethan theatre, a separate introduction to Richard II, a chronology, suggestions for further reading, an essay discussing performance options on both stage and screen, and a commentary. William Shakespeare (1564-1616) was born to John Shakespeare and Mary Arden in late April 1564 in Stratford-upon-Avon. He wrote about 38 plays (the precise number is uncertain), many of which are regarded as the most exceptional works of drama ever produced, including Romeo and Juliet (1595), Henry V (1599), Hamlet (1601), Othello (1604), King Lear (1606) and Macbeth (1606), as well as a collection of 154 sonnets, which are among the most profound and influential love poetry in English.