In Cymbeline, Ancient Britain's female heir to the throne is slandered by a decadent Italian while the Romans invade Britain to retain it as part of their empire.
The Tempest is one of Shakespeare's most popular plays, both in the classroom and in the theatre, and this revision brings the Arden 3 edition right up-to-date.
The Tempest is one of Shakespeare's most popular plays, both in the classroom and in the theatre, and this revision brings the Arden 3 edition right up-to-date.
Suzanne Gossett offers a full and critical performance history, with an introduction showing how the play's performance history has paralled the criticism.
'With the publication of Woudhuysen's Arden 3 edition, the magisterial study of the play that will energise a new generation of readers and directors has now arrived.
This richly annotated edition takes a fresh look at the first part of Shakespeare's second tetralogy of history plays, showing how it relates to the other plays in the sequence.
In their lively and engaging edition of this sometimes neglected early play, Cox and Rasmussen make a strong claim for it as a remarkable work, revealing a confidence and sureness that very few earlier plays can rival.
King Henry VIII has one of the fullest theatrical histories of any play in the Shakespeare canon, yet has been consistently misrepresented, both in performance and in criticism.
This edition celebrates King Henry VI Part 2 as one of the most exciting and dynamic plays of the English renaissance theatre, with its exploration of power politics and social revolution and its focus on the relationship between divine justice and sin.
A fresh look at a play usually regarded as the first component of a three-part historical epic, this edition argues that Henry VI Part 1 is a 'prequel', a freestanding piece that returns for ironic and dramatic effect to a story already familiar to its audience.
David Scott Kastan lucidly explores the remarkable richness and the ambitious design of King Henry IV Part 1 and shows how these complicate any easy sense of what kind of play it is.
This edition of one of Shakespeare's best known and most frequently performed plays argues for Julius Caesar as a new kind of political play, a radical departure from contemporary practice, combining fast action and immediacy with compelling rhetorical language, and finding a clear context for its study of tyranny in the last decade of the reign of Elizabeth 1.
The core of the ground-breaking, three text edition, this self-contained, free-standing volume gives readers the Second Quarto text (1604-5) and includes in its Introduction, notes and Appendices all the reader might expect to find in any standard Arden edition.
The core of the ground-breaking, three text edition, this self-contained, free-standing volume gives readers the Second Quarto text (1604-5) and includes in its Introduction, notes and Appendices all the reader might expect to find in any standard Arden edition.
On December 1727 an intriguing play called Double Falshood; Or, The Distrest Lovers was presented for production by Lewis Theobald, who had it published in January 1728 after a successful run at the Theatre Royal, Drury Lane, London.
John Wilders - literary advisor to the BBC TV Shakespeare series - brings thorough scholarship and a practical understanding of performance needs to this new edition.
The extended second edition of this inspiring introduction to Shakespeare offers readers more insights into what makes Shakespeare great, and why we still read and perform his works.
First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 a "e; a period that saw a remarkable amount of ground-breaking work.
First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 a "e; a period that saw a remarkable amount of ground-breaking work.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
Despite the outpour of interpretations, from critics of all schools, on Shakespeare's dramatic works and other poetic works, A Lover's Complaint has been almost totally ignored by criticism.
Despite the outpour of interpretations, from critics of all schools, on Shakespeare's dramatic works and other poetic works, A Lover's Complaint has been almost totally ignored by criticism.
An investigation into modes of early modern English literary 'indirection,' this study could also be considered a detective work on a pseudonym attached to some late sixteenth-century works.
An investigation into modes of early modern English literary 'indirection,' this study could also be considered a detective work on a pseudonym attached to some late sixteenth-century works.
