Sir Stanley Wells is one of the world's greatest authorities on William Shakespeare. Here he brings a lifetime of learning and reflection to bear on some of the most tantalising questions about the poet and dramatist that there are. How did he think, feel, and work? What were his relationships like? What did he believe about death? What made him laugh? This freshly thought and immensely engaging study wrestles with fundamental debates concerning Shakespeare's personality and life. The mysteries of how Shakespeare lived, whom and how he loved, how he worked, how he produced some of the greatest and most abidingly popular works in the history of world literature and drama, have fascinated readers for centuries. This concise, crystalline book conjures illuminating insights to reveal Shakespeare as he was. Wells brings the writer and dramatist alive, in all his fascinating humanity, for readers of today.

The Boar's Head Theatre, first published in 1972, provides an account of one of the Elizabethan inn-yard theatres. It is a reconstruction of considerable importance in our understanding of the performance conditions affecting Elizabethan drama, the mode of presentation and the nature of the audience. C. J. Sisson (1885-1966) was known especially for his research into Elizabethan court cases and the light they can throw on the literature and drama of the period. His discoveries included material on the Elizabethan inn-yard theatres which provides unquestionable evidence of great importance in relation to the evolution of the theatre in England. This book, which has been edited for publication by Stanley Wells, was to have been his major work on the subject. Historians of the theatre of this period will find this book indispensable, and those with a more general interest in the greatest age of English drama will be engrossed by the detailed and intimate glimpses of the theatre world which this story affords.

How can we look afresh at Shakespeare as a writer of sonnets? What new light might they shed on his career, personality, and sexuality? Shakespeare wrote sonnets for at least thirty years, not only for himself, for professional reasons, and for those he loved, but also in his plays, as prologues, as epilogues, and as part of their poetic texture. This ground-breaking book assembles all of Shakespeare's sonnets in their probable order of composition. An inspiring introduction debunks long-established biographical myths about Shakespeare's sonnets and proposes new insights about how and why he wrote them. Explanatory notes and modern English paraphrases of every poem and dramatic extract illuminate the meaning of these sometimes challenging but always deeply rewarding witnesses to Shakespeare's inner life and professional expertise. Beautifully printed and elegantly presented, this volume will be treasured by students, scholars, and every Shakespeare enthusiast.

First published in 1970. This book examines the areas of plays that are dependent upon the art of the theatre and the fluidity of interpretation to which this gives rise. It discusses the printing of plays and the limited attempts that have have been made to convey theatrical experience, taking as a particular example a masque by Ben Jonson. Finally, some of the problems created by the instability of theatrical art

First published in 1988, Perymedes and the Blacksmith and Pandosto by Robert Greene: A Critical Edition considers two prose works by Robert Greene - Perymedes the Blacksmith and Pandosto - alongisde a critical commentary, including, in relation to Perymedes the Blacksmith, an examination of Perymedes as a framework tale and an exploration of the poems, and, in relation to Pandosto, a consideration of the analogues and sources and the popularity of Pandosto.

Originally published in 1986. Among the most frequently performed and high admired of Shakespeare's plays, Twelfth Night is examined here in this collection of writings from well-known essayists and scholars. The chapters present to the modern reader discussions of the play to enhance understanding and study of both the text and performances. Opening essays address individual characters; then some accounts of its potential and theatrical reviews are included; finally followed by critical studies looking at various parts and themes. The editor's introduction explains the usefulness of each chapter and gives an overview of the selection.

Originally published in 1986. Among the most frequently performed and high admired of Shakespeare's plays, Twelfth Night is examined here in this collection of writings from well-known essayists and scholars. The chapters present to the modern reader discussions of the play to enhance understanding and study of both the text and performances. Opening essays address individual characters; then some accounts of its potential and theatrical reviews are included; finally followed by critical studies looking at various parts and themes. The editor's introduction explains the usefulness of each chapter and gives an overview of the selection.

Thomas Dekker's The Shoemaker's Holiday is one of the most popular of Elizabethan plays, entertaining, racy and vivid in its characterisation. Revealing a vital portrait of Elizabethan London and the interaction of social classes within the city, its social commentary is on the whole optimistic, though darker tones are discernible. The play has the whole optimistic, though darker tones are discernible. The play has had a lively history of performance on both the professional and amateur stage; the roles of Simon and Madgy Eyre in particular have proved worthy vehicles for the talents of such performers as Sir Donald Wolfit and Dame Edith Evans, and a notable production was directed by Orson Wells. The editors offer a study of the text; a historical and critical introduction, which includes a study of the play's relationship with contemporary life and drama and of its place in Dekker's work; a stage history' a detailed commentary and a reprint of source materials. -- .

First published in 1970. This book examines the areas of plays that are dependent upon the art of the theatre and the fluidity of interpretation to which this gives rise. It discusses the printing of plays and the limited attempts that have have been made to convey theatrical experience, taking as a particular example a masque by Ben Jonson. Finally, some of the problems created by the instability of theatrical art

First published in 1988, Perymedes and the Blacksmith and Pandosto by Robert Greene: A Critical Edition considers two prose works by Robert Greene - Perymedes the Blacksmith and Pandosto - alongisde a critical commentary, including, in relation to Perymedes the Blacksmith, an examination of Perymedes as a framework tale and an exploration of the poems, and, in relation to Pandosto, a consideration of the analogues and sources and the popularity of Pandosto.

'It reads as freshly today as it did fifty years ago, when it surprised everyone with its originality and daring, an intriguing blend of personal insight and solid detective-work. If ever a word-book deserved to be called a classic, it is this.' - David Crystal

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 book, first published in 1964, is devoted to Thomas Nashe. Shakespeare's plays have many apparent echoes of his matter and style; he was one of the most adventurous and successful of those who tried to explore the possibilities of the language and to embellish it was an eloquence both learned and popular. Moreover, he is a conscientious and delighted portrayer of the London of his time; he combines the interests of a Mayhew with the exuberance of a Dylan Thomas. This book will be of interest to students of literature.

The Boar's Head Theatre, first published in 1972, provides an account of one of the Elizabethan inn-yard theatres. It is a reconstruction of considerable importance in our understanding of the performance conditions affecting Elizabethan drama, the mode of presentation and the nature of the audience. C. J. Sisson (1885-1966) was known especially for his research into Elizabethan court cases and the light they can throw on the literature and drama of the period. His discoveries included material on the Elizabethan inn-yard theatres which provides unquestionable evidence of great importance in relation to the evolution of the theatre in England. This book, which has been edited for publication by Stanley Wells, was to have been his major work on the subject. Historians of the theatre of this period will find this book indispensable, and those with a more general interest in the greatest age of English drama will be engrossed by the detailed and intimate glimpses of the theatre world which this story affords.

This volume presents a winning selection of the very best essays from the long and distinguished career of Stanley Wells, one of the most well-known and respected Shakespeare scholars in the world. Wells's accomplishments include editing the entire canon of Shakespeare plays for the ground-breaking Oxford Shakespeare, and over his lifetime he has made significant contributions to debates over literary criticism of the works, genre study, textual theory, Shakespeare's afterlife in the theatre, and contemporary performance. The volume is introduced by Peter Holland, and its thirty chapters are divided into themed sections: 'Shakespearian Influences', 'Essays on Particular Works', 'Shakespeare in the Theatre', and 'Shakespeare's Text'. An afterword by Margreta de Grazia concludes the volume.

This book, first published in 1964, is devoted to Thomas Nashe. Shakespeare's plays have many apparent echoes of his matter and style; he was one of the most adventurous and successful of those who tried to explore the possibilities of the language and to embellish it was an eloquence both learned and popular. Moreover, he is a conscientious and delighted portrayer of the London of his time; he combines the interests of a Mayhew with the exuberance of a Dylan Thomas. This book will be of interest to students of literature.

Shakespeare: A Playgoer's & Reader's Guide is your essential companion to all Shakespeare's extant works (as well as those known to be lost). Two of our most eminent Shakespeare scholars guide us through his sonnets, his poems, and his plays, providing the reader with detailed scene-by-scene plot synopses, cast lists, notes on the texts and sources, discussions of artistic features, and accounts of significant productions on stage and screen. Derived from the acclaimed Oxford Companion to Shakespeare, and fully updated to reflect the latest scholarship and most recent notable productions, it is the ideal compact guide for students and theatre-goers needing a helpful plot summary, or readers wishing to browse on fascinating background information.

'It reads as freshly today as it did fifty years ago, when it surprised everyone with its originality and daring, an intriguing blend of personal insight and solid detective-work. If ever a word-book deserved to be called a classic, it is this.' - David Crystal

'Eric was a human lexicographer, like Samuel Johnson. He was a philologist rather than a linguist. He knew what Chomsky was doing and what had happened to phonology in Prague, but he eschewed the strict scientific approach. Linguistics is scared of semantics and prefers to concentrate on structures, leaving the study of the meaning of words to anthropologists - or, perhaps with misgivings, to Johnsonian word-lovers like Eric Partridge.' - Anthony Burgess

'It reads as freshly today as it did fifty years ago, when it surprised everyone with its originality and daring, an intriguing blend of personal insight and solid detective-work. If ever a word-book deserved to be called a classic, it is this.' - David Crystal

The Oxford Shakespeare offers authoritative texts from leading scholars in editions designed to interpret and illuminate the plays for modern readers - a new, modern-spelling text, based on the Quarto text of 1608 - on-page commentary and notes explain meaning, staging, allusions and much else - detailed introduction considers composition, sources, performances and changing critical attitudes to the play - illustrated with production photographs and related art - includes 'The Ballad of King Lear' and related offshoots - full index to introduction and commentary - durable sewn binding for lasting use 'not simply a better text but a new conception of Shakespeare. This is a major achievement of twentieth-century scholarship.' Times Literary Supplement 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.

This scarce antiquarian book is a selection from Kessinger PublishingA AcentsAcentsa A-Acentsa Acentss Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of intere

From the dean of Shakespeare studies comes a lively, entertaining work of biography that firmly locates Shakespeare within the hectic, exilarating world in which he lived and worked.
Theatre in Shakespeare's day was a growth industry. Everyone knew everyone else, and they all sought to learn, borrow, or steal from one another. Stanley Wells explores the theatre world from behind the scenes, examining how the great actors of the time influenced Shakespeare's work. He writes about the lives and works of the other major writers of the day and discusses Shakespeare's relationships-sometimes collaborative--with each of them. Throughout, Wells shares his vast knowledge of the period, re-creating and celebrating the sheer richness and variety of the social and cultural milieus that gave rise to the greatest writer in our language.

'Therefore they thought it good you hear a play And frame your mind to mirth and merriment'

Shakespearean comedy has as much to do with the structure and movement of the drama as with the wit of its dialogue or the humour of its characters. In these four comedies there is a near-tragic crisis at which disaster or happiness may ensue, but the overriding force of goodwill and the power of understanding, love and generosity brings us through to a joyful conclusion.

In comedy, 'sweet are the uses of adversity', so that the most bitter circumstances - exile, oppression, unrequited love - can give rise to higher feelings of friendship, respect, sympathy and acceptance. In this collection of Shakespeare's four most spirited comedies, each text comes complete with notes and an introduction, making this edition of particular value to students, scholars and theatre-goers.

Twelfth Night is one of the most popular of Shakespeare's plays in the modern theatre, and this edition places particular emphasis on its theatrical qualities throughout. Peopled with lovers misled either by disguises or their own natures, it combines lyrical melancholy with broad comedy.
The introduction analyses its many views of love and the juxtaposition of joy and melancholy, while the detailed commentary pays particular attention to its linguistic subtleties.
Music is particularly important in Twelfth Night, and this is the only modern edition to offer material for all the music required in a performance. James Walker has re-edited the existing music from the original sources, and where noe exists has composed settings compatible with the surviving originals.
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.