There is no Shakespeare without text. Yet readers often do not realize that the words in the book they hold, like the dialogue they hear from the stage, has been revised, augmented and emended since Shakespeare's lifetime. An essential resource for the history of Shakespeare on the page, Shakespeare and Textual Theory traces the explanatory underpinnings of these changes through the centuries. After providing an introduction to early modern printing practices, Suzanne Gossett describes the original quartos and folios as well as the first collected editions. Subsequent sections summarize the work of the 'New Bibliographers' and the radical challenge to their technical analysis posed by poststructuralist theory, which undermined the presumed stability of author and text. Shakespeare and Textual Theory presents a balanced view of the current theoretical debates, which include the nature of the surviving texts we call Shakespeare's; the relationship of the author 'Shakespeare' and of authorial intentions to any of these texts; the extent and nature of Shakespeare's collaboration with others; and the best or most desirable way to present the texts - in editions or performances. The book is illustrated throughout with examples showing how theoretical decisions affect the text of Shakespeare's plays, and case studies of Hamlet and Pericles demonstrate how different theories complicate both text and meaning, whether a play survives in one version or several. The conclusion summarizes the many ways in which beliefs about Shakespeare's texts have changed over the centuries.

Published with the Shakespeare Association of America, Shakespeare in Our Time offers lead essays by the distinguished scholars who have served as presidents of the Association over the past two decades. They introduce a range of topics: text, performance, gender, sexuality, the body, history, religion, biography, and global and digital Shakespeare. Each of their essays is counterpointed and complemented by a satellite of shorter contributions by other scholars, new and established. Shakespeare in Our Time represents the shared commitment of its authors and of the Shakespeare Association of America to advancing our understanding of Shakespeare's works, his times, and his afterlife in literary, theatrical, and public culture. This intellectually vibrant and diverse book reflects current debates in the field of Shakespeare studies and points to its possible futures.

Suzanne Gossett offers a full and critical performance history, with an introduction showing how the play's performance history has paralled the criticism. It then gives an interpretation of this two-generation romance, with its successive male and female central characters, based on a reading 'through the family', and influenced by the feminist and new historicist criticism of the last two decades.The edition integrates cumulative research on Shakespeare's collaborative authorship and the transmission of the text without rewriting the play or ignoring years of emendations.

These individual volumes extracted from The Norton Shakespeare bring to readers a meticulously edited new text that reflects current textual-editing scholarship and introduces innovative teaching features. The print and digital bundles offer students a great reading experience in two ways-printed volumes for their lifetime library and digital editions ideal for in-class use. Every introduction, note, gloss and bibliography has been reconsidered in light of reviewers' suggestions, and new textual introductions and performance notes reflect the extensive new scholarship in these fields. The ebooks are accessed with The Norton Shakespeare Digital Edition registration code included in the print volumes.

This title, first published in 1988, examines the influence of the Jacobean masque on the plays of Francis Beaumont and John Fletcher. The author examines the ways in which the plays of Beaumont and Fletcher represent not only a great expression of human emotion, but how they are also a fine example of the growth and change of dramatic form. This title will be of interest to students of drama, literature and performance studies.

The attractive print and digital bundle offers students a great reading experience at an affordable price in two ways-a hardcover volume for their dorm shelf and lifetime library, and a digital edition ideal for in-class use. Students can access the ebook from their computer, tablet, or smartphone via the registration code included in the print volume at no additional charge. As one instructor summed it up, "It's a long overdue step forward in the way Shakespeare is taught."

Of all of Jonson's plays, Bartholomew Fair with its focus on the conflict between a carnivalesque enjoyment of the flesh and society's desire for order and control, speaks most directly to the modern audience. This edition is the first to use the findings of feminist scholarship in examining the play's concern with forced marriage, pregnancy, sexual commerce and widowhood. Glosses and notes are provided for students and theatre-goers clarifying the language and dialects Jonson uses to individualise the characters in his prose masterpiece and helpfully explicating layers of meaning and topical references. -- .

The redefinition of the Thomas Middleton canon has led to an explosion of interest in this quintessential Jacobean. Middleton's best-known plays, such as Women Beware Women and The Changeling, are now staged, filmed and rewritten for modern audiences. But Middleton also wrote religious poetry, satires, historical allegory, prose and less familiar plays, collaborating frequently, even with Shakespeare. His works are rooted in his historical and cultural environment, from the Overbury scandal to the fall of the boys' companies. Here, experts in literature, theatre, history, law and religion analyze the complex contexts of Middleton's works, clarifying debates over his religious and political affiliations. Divided into sections presenting new interpretations of the world in which Middleton wrote - as a Londoner, citizen, dramatist and early modern man - and concluding with a section on performance history, the essays cover the full range of his works, from the frequently performed to the newest attributions.

This title, first published in 1988, examines the influence of the Jacobean masque on the plays of Francis Beaumont and John Fletcher. The author examines the ways in which the plays of Beaumont and Fletcher represent not only a great expression of human emotion, but how they are also a fine example of the growth and change of dramatic form. This title will be of interest to students of drama, literature and performance studies.

Suzanne Gossett offers a full and critical performance history, with an introduction showing how the play's performance history has paralled the criticism. It then gives an interpretation of this two-generation romance, with its successive male and female central characters, based on a reading 'through the family', and influenced by the feminist and new historicist criticism of the last two decades. The edition integrates cumulative research on Shakespeare's collaborative authorship and the transmission of the text without rewriting the play or ignoring years of emendations.

There is no Shakespeare without text. Yet readers often do not realize that the words in the book they hold, like the dialogue they hear from the stage, has been revised, augmented and emended since Shakespeare’s lifetime. An essential resource for the history of Shakespeare on the page, Shakespeare and Textual Theory traces the explanatory underpinnings of these changes through the centuries. After providing an introduction to early modern printing practices, Suzanne Gossett describes the original quartos and folios as well as the first collected editions. Subsequent sections summarize the work of the ‘New Bibliographers’ and the radical challenge to their technical analysis posed by poststructuralist theory, which undermined the presumed stability of author and text. Shakespeare and Textual Theory presents a balanced view of the current theoretical debates, which include the nature of the surviving texts we call Shakespeare’s; the relationship of the author ‘Shakespeare’ and of authorial intentions to any of these texts; the extent and nature of Shakespeare’s collaboration with others; and the best or most desirable way to present the texts - in editions or performances. The book is illustrated throughout with examples showing how theoretical decisions affect the text of Shakespeare’s plays, and case studies of Hamlet and Pericles demonstrate how different theories complicate both text and meaning, whether a play survives in one version or several. The conclusion summarizes the many ways in which beliefs about Shakespeare’s texts have changed over the centuries.

The Norton Shakespeare brings to readers a meticulously edited new text that reflects current textual-editing scholarship and introduces innovative teaching features. The print and digital bundle offers students a great reading experience in two ways-a printed volume for their lifetime library and a digital edition ideal for in-class use. Every play introduction, note, gloss and bibliography has been reconsidered in light of reviewers' suggestions, and new textual introductions and performance notes reflect the extensive new scholarship in these fields.

In All's Well That Ends Well, Helen, a lowly ward, risks her life to satisfy her boundless love for Bertram, a count and ward to the King of France. Following him to Paris, she concocts an endangering plan to win the King of France's favour and induce Bertram's hand in marriage. In the comprehensive introduction to this new, fully-illustrated Arden edition, Suzanne Gossett takes a transformative look at the play's critical and performance history by offering fresh perspectives on the conundrum of genre, sexuality and moral dilemmas with masculinity and the structures of family. The authoritative play text is amply annotated to clarify its language and allusions, and two appendices debate the play's authorship and review its casting. Offering students and scholars alike a wealth of insight and new research, this edition maintains the rigorous standards of the Arden Shakespeare.

In All's Well That Ends Well, Helen, a lowly ward, risks her life to satisfy her boundless love for Bertram, a count and ward to the King of France. Following him to Paris, she concocts an endangering plan to win the King of France's favour and induce Bertram's hand in marriage. In the comprehensive introduction to this new, fully-illustrated Arden edition, Suzanne Gossett takes a transformative look at the play's critical and performance history by offering fresh perspectives on the conundrum of genre, sexuality and moral dilemmas with masculinity and the structures of family. The authoritative play text is amply annotated to clarify its language and allusions, and two appendices debate the play's authorship and review its casting. Offering students and scholars alike a wealth of insight and new research, this edition maintains the rigorous standards of the Arden Shakespeare.

Philaster is a tragicomedy by Beaumont and Fletcher which has much in common with Shakespeare's late plays such as The Winter's Tale. Set in a fictionalised Sicily, it has the complex plot of love, disguise and the threat of death much loved by early modern theatre-goers. This edition provides an authoritative, modernised text by a leading scholar with detailed on-page commentary notes giving readers a deeper understanding of the play. The comprehensive, illustrated introduction discusses Philaster from a performance perspective as well as its relation to Shakespearean drama, and places it in its historical and critical contexts. The play is often taught on Shakespeare and Early Modern drama courses but only now is such a detailed, modern edition available for use by students and scholars. With its wealth of helpful and incisive commentary, this is the finest edition of the play available. The Arden Early Modern Drama series accompanies and complements the Arden Shakespeare Third Series, offering editions of non-Shakespearean Renaissance drama and Restoration drama from the period 1500-1700. Modelled on the Third Series in appearance and style Arden Early Modern Drama editions will offer high-quality textual scholarship and full annotation, together with an accessible, student-friendly introduction.

Philaster is a tragicomedy by Beaumont and Fletcher which has much in common with Shakespeare's late plays such as The Winter's Tale. Set in a fictionalised Sicily, it has the complex plot of love, disguise and the threat of death much loved by early modern theatre-goers. This edition provides an authoritative, modernised text by a leading scholar with detailed on-page commentary notes giving readers a deeper understanding of the play. The comprehensive, illustrated introduction discusses Philaster from a performance perspective as well as its relation to Shakespearean drama, and places it in its historical and critical contexts. The play is often taught on Shakespeare and Early Modern drama courses but only now is such a detailed, modern edition available for use by students and scholars. With its wealth of helpful and incisive commentary, this is the finest edition of the play available. The Arden Early Modern Drama series accompanies and complements the Arden Shakespeare Third Series, offering editions of non-Shakespearean Renaissance drama and Restoration drama from the period 1500-1700. Modelled on the Third Series in appearance and style Arden Early Modern Drama editions will offer high-quality textual scholarship and full annotation, together with an accessible, student-friendly introduction.