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Dr. Faustus is one of the jewels of early modern English drama, and
is still widely performed today. Interestingly, the play has come
down to the contemporary audience in two distinct versions that
have become known as the 'A' and the 'B' texts. David Bevington and
Eric Rasmussen, who edited the original Revels edition over twenty
years ago (and are two of the most eminent editors currently
working), have hit upon the fascinating idea of presenting both
texts on facing pages. This allows readers to compare the two
'versions', the 'A' text which is the one closest to Marlowe, and
the longer 'B' text with additions by Samuel Rowley; in this unique
edition, the reader is made aware of the changing tastes of
audiences, the stage history of the play, and of just how intricate
'editing' a play can be. With a concise and illuminating
introduction, and relevant notes and images, this Revels Student
Edition of the 'A' and 'B' texts of Dr. Faustus will prove to be an
enthralling document, and an excellent edition for student and
theatre-goer alike. -- .
This Revels Student Edition, with a carefully modernized text,
presents new material about "Volpone" 's debt to the popular
Reynard beast epic and Italian "commedia dell 'art" and discusses
its mockery of greed in relation to two Renaissance perversions of
the myth of a Golden Age. Referring to famous productions, it pays
particular attention to decisions that must be made whenever the
play is performed.
This edition contains in distilled form the insight and learning
found iun the fuller Revels critical edition, but with less of the
learned apparatus that is appropriate to a critical edition. The
introduction and commentary are compact and up to date. The price
and format are designed to be competitive with any paperback
teaching edition of this play. -- .
John Lyly was undisputed master of the private theatre stage in the
1570s and 1580s. Lyly's "Endymion" (1588) represents his famous
Euphuistic style at its best and also gives us vintage Lyly as
courtier and dramatist. In this love comedy, Lyly retells an
ancient legend of the prolonged sleep of the man with whom the moon
(Cynthia) fell in love. The fable is piquantly relevant to Queen
Elizabeth and her exasperated if adoring courtiers. This edition
makes a new and compelling argument for the relevance of "Endymion"
to the threat of the Spanish Armada invasion of 1588 and to the
role of the Earl of Oxford in England's politics of that troubled
decade. Full commentary is provided on every aspect of the play,
including its philosophical allegory about the relation of the moon
to mortal life on earth.
This volume in the "Revel Plays" series, offers reading editions,
with modern spelling, of the 1604 and 1616 editions of Marlowe's
play, arguing that the two cannot be conflated into one. Included
are sources and commentary, literary criticism, style and
staging/performance assessments. -- .
The "revenge" play became the most durable and commercially
successful type of drama on the Elizabethan stage. This example by
Thomas Kyd, who was one of the originators of the genre, brings to
life the intrigues of the Spanish court, dramatically juxtaposing
romantic passion with sudden violent death and clandestine
politics. The ghost of Dan Andrea and his guide Revenge observe the
dark and bloody action throughout, provoking questions about the
nature of the human condition. -- .
This is the finest critical edition of the two earliest comedies
written by John Lyly. The text of "Sappho and Phao" is based on a
first edition that was never before recognized as such. The text of
"Campaspe" has also been take from early editions. The substantial
introductions and commentary notes give a new view of Lyly's
learning, style, wit and theatrical genius, along with the
presentation of the battle of the sexes that offered such vital
models for the early Shakespeare. The editors have worked to ensure
that the two plays in this joint edition will compliment and
illuminate each other. The plays are set in their historical,
literary and theatrical context. With modernized spelling,
explanations of difficult passages and extensive footnotes, this
book will be a welcome addition for anyone interested in English
Renaissance drama.
"Galatea" and "Midas" are two of John Lyly's most engaging plays.
Shortly after his early success with Campaspe and Sappho and Phao
in 1583-4, he took up the story of two young women, Galatea (or
Gallathea) and Phillida who are dressed up in male clothes by their
fathers so that they can avoid the requirement of the god Neptune
that every year "the fairest and chastest virgin in all the
country" be sacrificed to a sea-monster. Hiding together in the
forest, the two maidens fall in love, each supposing the other to
be a young man. "Galatea" has become the subject of considerable
feminist critical study in recent years. "Midas" (1590) uses
mythology in quite a different way, dramatizing two stories about
King Midas (the golden touch and the ass's ears) in such a way as
to fashion a satire of King Philip of Spain (and of any tyrant like
him) for colossal greediness and folly. In the wake of the defeat
of Philip's Armada fleet and its attempted invasion of England in
1588, this satire was calculated to win the approval of Queen
Elizabeth and her court. The plays are newly presented here by the
scholars who have recently edited Campaspe, Sappho and Phao, and
Endymion for the Revels series.
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