The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

This short book derives from an article published in the periodical Vacation Tourists and Notes of Travel, edited by Francis Galton, in 1860. W. G. Clark (1821-78) was most famous as co-editor of the Cambridge Shakespeare, but was originally a classical scholar, whose Peloponnesus (1858) is also reissued in this series. This lively account of a critical period in Italian history, 'during the occurrence of events so strange and sudden that they resembled incidents of a romantic melodrama rather than real history', deliberately avoids the usual landscapes, ruins and peasants to give a day-by-day description of events in Naples at the time when Garibaldi had arrived in the city during his campaign for the liberation of the Kingdom of the Two Sicilies. However, as well as narrating political and military developments, Clark introduces some picturesque notes, including an account of the famous 'miracle' of the liquefaction of St Gennaro's blood.

Founded in 1868 by the Cambridge scholars John Eyton Bickersteth Mayor (1825 1910), William George Clark (1821 78), and William Aldis Wright (1831 1914), this biannual journal was a successor to The Journal of Classical and Sacred Philology (also reissued in the Cambridge Library Collection). Unlike its short-lived precursor, it survived for more than half a century, until 1920, spanning the period in which specialised academic journals developed from more general literary reviews. Predominantly classical in subject matter, with contributions from such scholars as J. P. Postgate, Robinson Ellis and A. E. Housman, the journal also contains articles on historical and literary themes across the 35 volumes, illuminating the growth and scope of philology as a discipline during this period. Volume 1, comprising issues 1 and 2, was published in 1868.

Founded in 1868 by the Cambridge scholars John Eyton Bickersteth Mayor (1825 1910), William George Clark (1821 78), and William Aldis Wright (1831 1914), this biannual journal was a successor to The Journal of Classical and Sacred Philology (also reissued in the Cambridge Library Collection). Unlike its short-lived precursor, it survived for more than half a century, until 1920, spanning the period in which specialised academic journals developed from more general literary reviews. Predominantly classical in subject matter, with contributions from such scholars as J. P. Postgate, Robinson Ellis and A. E. Housman, the journal also contains articles on historical and literary themes across the 35 volumes, illuminating the growth and scope of philology as a discipline during this period. Volume 2, comprising issues 3 and 4, was published in 1869.

Founded in 1868 by the Cambridge scholars John Eyton Bickersteth Mayor (1825 1910), William George Clark (1821 78), and William Aldis Wright (1831 1914), this biannual journal was a successor to The Journal of Classical and Sacred Philology (also reissued in the Cambridge Library Collection). Unlike its short-lived precursor, it survived for more than half a century, until 1920, spanning the period in which specialised academic journals developed from more general literary reviews. Predominantly classical in subject matter, with contributions from such scholars as J. P. Postgate, Robinson Ellis and A. E. Housman, the journal also contains articles on historical and literary themes across the 35 volumes, illuminating the growth and scope of philology as a discipline during this period. Volume 3, comprising issues 5 and 6, was published in 1871.