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The second Oxford edition of Shakespeare's Complete Works
reconsiders every detail of their text and presentation in the
light of modern scholarship. The nature and authority of the early
documents are re-examined, and the canon and chronological order of
composition freshly established. Spelling and punctuation are
modernized, and there is a brief introduction to each work, as well
as an illuminating and informative General Introduction. Included
here for the first time is the play The Reign of King Edward the
Third as well as the full text of Sir Thomas More. This new edition
also features an essay on Shakespeare's language by David Crystal,
and a bibliography of foundational works.
This edition of Sir Thomas More is the first to bring the play into
the context of a major Shakespeare series, to provide a substantial
critical analysis, and to offer a comprehensive modern stage
history. The introduction deals with issues such as the strange
involvement of the anti-Catholic spy-hunter Anthony Munday as chief
dramatist, the place of Sir Thomas More as a Catholic martyr in
Protestant late Elizabethan culture, and the play's representation
of a multi-cultural London.The text itself, supported by a
searching and detailed commentary, adopts a distinctive
presentation that enables readers to keep track of the manuscript
and the hands that produced it, whilst engaging with the play as a
fascinating theatrical piece. Sir Thomas More deals with matters so
controversial that it may never have reached performance on stage.
The authors' determination to deal with rioting and religious
politics led to a play that is compelling in its own right but also
intriguing as a document of what could, and could not, be
articulated in the early modern public theatre. Surviving only as a
manuscript text on which Shakespeare was thought to have worked, it
can be considered to be the most important play manuscript of the
period, owing to its highly complex witness to collaboration
between dramatists and to censorship.
Timon of Athens is a bitterly intriguing study of a fabulously rich
man who wastes his wealth on his friends, and, when he is finally
impoverished, learns to despise humanity with a hatred that drives
him to his grave. The play's plot structure is schematically clear,
and the poetry of Timon's rage is arresting in its savage
intensity. Yet readers have often detected loose ends, and the tone
of writing is uneven. In his introduction, John Jowett explains how
these characteristics arise because the play was written as a
collaboration between Shakespeare and Thomas Middleton. This
edition pays full justice to Middleton's presence, explaining how
his contribution gave the play its distinctive edge. Readers need
to read this play as a dialogue between writers of different
temperaments, and this edition is the first to make such a reading
possible.
The introduction provides the fullest account of the play's
performance history available. The commentary is the most detailed
ever to have been published. Appendices include source materials
and a listing of major productions worldwide.
About the Series: For over 100 years Oxford World's Classics has
made available the broadest spectrum of literature from around the
globe. Each affordable volume reflects Oxford's commitment to
scholarship, providing the most accurate text plus a wealth of
other valuable features, including expert introductions by leading
authorities, voluminous notes to clarify the text, up-to-date
bibliographies for further study, and much more.
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.
Richard III is one of Shakespeare's most popular plays on the stage
and has been adapted successfully for film. This new and innovative
edition recognizes the play's pre-eminence as a performance work: a
perspective that informs every aspect of the editing. Challenging
traditional practice, the text is based on the 1597 Quarto which,
it is argued, brings us closest to the play as it would have been
staged in Shakespeare's theatre. The introduction, which is
illustrated, explores the long performance history from
Shakespeare's time to the present. Its critical engagement with the
play responds to recent historicist and gender-based approaches.
The commentary gives detailed explication of matters of language,
staging, text, and historical and cultural contexts, providing
coverage that is both carefully balanced and alert to nuance of
meaning. Documentation of the extensive textual variants is
organized for maximum clarity: the readings of the Folio and the
Quarto are presented in separate banks, and more specialist
information is given at the back of the book. Appendices also
include selected passages from the main source and a special index
of actors and other theatrical personnel. ABOUT THE SERIES: For
over 100 years Oxford World's Classics has made available the
widest range of literature from around the globe. Each affordable
volume reflects Oxford's commitment to scholarship, providing the
most accurate text plus a wealth of other valuable features,
including expert introductions by leading authorities, helpful
notes to clarify the text, up-to-date bibliographies for further
study, and much more.
A compact edition of the complete works of William Shakespeare. It
combines impeccable scholarship with beautifully written editorial
material and a user-friendly layout of the text. Also included is a
foreword, list of contents, general introduction, essay on
language, contemporary allusions to Shakespeare, glossary,
consolidated bibliography and index of first lines of Sonnets.
The Complete Works: Modern Critical Edition is part of the landmark
New Oxford Shakespeare-an entirely new consideration of all of
Shakespeare's works, edited afresh from all the surviving original
versions of his work, and drawing on the latest literary, textual,
and theatrical scholarship. In one attractive volume, the Modern
Critical Edition gives today's students and playgoers the very best
resources they need to understand and enjoy all Shakespeare's
works. The authoritative text is accompanied by extensive
explanatory and performance notes, and innovative introductory
materials which lead the reader into exploring questions about
interpretation, textual variants, literary criticism, and
performance, for themselves. The Modern Critical Edition presents
the plays and poetry in the order in which Shakespeare wrote them,
so that readers can follow the development of his imagination, his
engagement with a rapidly evolving culture and theatre, and his
relationship to his literary contemporaries. The New Oxford
Shakespeare consists of four interconnected publications: the
Modern Critical Edition (with modern spelling), the Critical
Reference Edition (with original spelling), a companion volume on
Authorship, and an online version integrating all of this material
on OUP's high-powered scholarly editions platform. Together, they
provide the perfect resource for the future of Shakespeare studies.
A comprehensive reference work on Shakespearean textual problems,
setting forth the editorial principles of the Oxford Edition and
providing a concise history of Shakespeare editing. Includes for
each play, textual notes, press-variants, discussions of
emendations and plausible alternative readings, and much more.
Indispensable for serious students. Illus.
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.
This edition of Sir Thomas More is the first to bring the play into
the context of a major Shakespeare series, to provide a substantial
critical analysis, and to offer a comprehensive modern stage
history. The introduction deals with issues such as the strange
involvement of the anti-Catholic spy-hunter Anthony Munday as chief
dramatist, the place of Sir Thomas More as a Catholic martyr in
Protestant late Elizabethan culture, and the play's representation
of a multi-cultural London.The text itself, supported by a
searching and detailed commentary, adopts a distinctive
presentation that enables readers to keep track of the manuscript
and the hands that produced it, whilst engaging with the play as a
fascinating theatrical piece. Sir Thomas More deals with matters so
controversial that it may never have reached performance on stage.
The authors' determination to deal with rioting and religious
politics led to a play that is compelling in its own right but also
intriguing as a document of what could, and could not, be
articulated in the early modern public theatre. Surviving only as a
manuscript text on which Shakespeare was thought to have worked, it
can be considered to be the most important play manuscript of the
period, owing to its highly complex witness to collaboration
between dramatists and to censorship.
Timon of Athens is a bitterly intriguing study of a fabulously rich
man who wastes his wealth on his friends, and, when he is finally
impoverished, learns to despise humanity with a hatred that drives
him to his grave. The play's response to matters topical in
Jacobean London sharpens its thrust as satire. Yet the setting in
ancient Athens allows it to read as a timeless fable, deeply
relevant to a modern society that sees itself as pursuing material
prosperity to the point of self-destruction. The first half of the
play offers a satirical vision of a world of artifice and
insincerity. The second half is a startlingly experimental drama in
which a succession of Timon's real and false friends unsuccessfully
challenge his commitment to his life as a misanthropic recluse in
the woods. The play's plot structure is schematically clear, and
the poetry of Timon's rage is arresting in its savage intensity.
Yet readers have often detected loose ends, and the tone of writing
is uneven. In his Introduction, John Jowett explains how these
characteristics arise because the play was written as a
collaboration between Shakespeare and Thomas Middleton. This
edition pays full justice to Middleton's presence, explaining how
his contribution gave the play its distinctive edge. We as readers
need to read this play as a dialogue between writers of different
temperaments, and this edition is the first to make such a reading
possible. The Introduction provides the fullest account of the
play's performance history available. The commentary is the most
detailed ever to have been published. Appendices include source
materials and a listing of major productions world-wide.
This innovative edition of Richard III emphasizes the play as a theatre work, and this understanding informs every aspect of the editing. The choice of the 1597 quarto text brings us close to the play as it would have been performed in Shakespeare's theatre. The play's long performance history is described and illustrated in an introduction that is also responsive to recent historicist and gender-based critical approaches. The commentary gives full and balanced treatment to matters of language, performance, text, and historical and cultural contexts.
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