Classic plays / drama

Book SynopsisThe drama of Romeo and Juliet is one of the most famous of all tragedies. It tells the story of two 'star-crossed' lovers whose young lives are cruelly cut short because of a bitter feud between their families. Since it was published in 1597, Romeo and Juliet has been performed all round the world, made into box office recordbreaking films, ballets and adapted by Leonard Bernstein for his world-famous musical, West Side Story. Shakespeare was young when he wrote the play, and the exquisite language captures his sympathy for the lovers. This new edition includes the complete text with explanatory notes and a full introduction that describes the setting, summarises the plot and profiles the main characters. It discusses Shakespeare's language and the play's themes, and it gives typical essay and test questions to help students prepare for exams. Includes: Introduction The Story of Romeo and Juliet The Play's Characters Themes and Language Examining the Play The Play NotesTable of ContentsIntroduction The Story of Romeo and Juliet The Play's Characters Themes and Language Examining the Play The Play Notes

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Book SynopsisThe text, with few departures, is that of the First Quarto (1598) edition of the play.Table of ContentsPreface A Note on the Text Abbreviated Genealogy of the Mortimers and the House of Lancaster The Text of 1 Henry IV Contexts and Sources COMPOSITION AND PUBLICATION Excerpt from the 1598 Quarto ONE PLAY OR TWO? Harold Jenkins – The Structural Problem in Shakespeare’s “Henry the Fourth” Paul Yachnin – History, Theatricality, and the “Structural Problem” in the Henry IV Plays FALSTAFF OR OLDCASTLE? Gary Taylor – The Fortunes of Oldcastle David Scott Kastan – [Reforming Falstaff] ORIGINS Peter Saccio – [Shakespearean History and the Reign of Henry IV] Edward Hall – Henry, Prince of Wales Raphael Holinshed – Elizabeth and the Uniting of the Two Houses Anonymous – An Homilee against disobedience and wylful rebellion Raphael Holinshed – The Chronicles of England Samuel Daniel – The Ciuile Wars The Famous Victories of Henry the Fifth Criticism John Dryden – The Composition of a Character Samuel Johnson – [Falstaff] Elizabeth Montagu – [Hal, Falstaff, and Taste] Maurice Morgann – An Essay on the Dramatic Character of Sir John Falstaff John Dover Wilson – The Falstaff Myth Arthur C. Sprague – Gadshill Revisited E.M.W. Tillyard – The Second Tetralogy Henry Ansagar Kelly – [Providence and Progaganda] Graham Holderness – [Tillyard, History, and Ideology] Sigurd Burckhardt – [Symmetry and Disorder] John Wilders – [Knowledge and Misjudgement] Stephen Greenblatt – [Theater and Power] Scott McMillin – [Performing 1 Henry IV] David Scott Kastan – “The King Hath Many Marching in His Coats,” or, What Did You Do in the War, Daddy? C. L. Barber – [Mingling Kings and Clowns] Michael Bristol – [The Battle of Carnival and Lent] Samuel Crowl – [Welles and Falstaff] Patricia Parker – [Fat Lady Falstaff] Coppélia Kahn – [Masculine Identities] Gus Van Sant – [My Own Private Idaho] Susan Wiseman – [Shakespeare in Idaho] Jean E. Howard and Phyllis Rackin – [Gender and Nation] Christopher Highley – [Defining the Nation] Barbara Hodgdon – [Endings] Selected Bibliography

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Book SynopsisThe acclaimed Pelican Shakespeare series, now repackaged in award-winning modern covers to inspire Shakespearians of all ages.

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Book SynopsisWritten by a team of leading international scholars, The Cambridge Companion to Shakespeare and War illuminates the ways Shakespeare''s works provide a rich and imaginative resource for thinking about the topic of war. Contributors explore the multiplicity of conflicting perspectives his dramas offer: war depicted from chivalric, masculine, nationalistic, and imperial perspectives; war depicted as a source of great excitement and as a theater of honor; war depicted from realistic or skeptical perspectives that expose the butchery, suffering, illness, famine, degradation, and havoc it causes. The essays in this volume examine the representations and rhetoric of war throughout Shakespeare''s plays, as well as the modern history of the war plays on stage, in film, and in propaganda. This book offers fresh perspectives on Shakespeare''s multifaceted representations of the complexities of early modern warfare, while at the same time illuminating why his perspectives on war and its consequences continue to matter now and in the future.Trade Review'The Cambridge Companion to Shakespeare and War is much more than an overview of a field or guide to an area and performs valuable intellectual work in bringing together diverse perspectives on a subject that embarrasses as well as attracts readers, many of whom want a straightforward understanding of a complicated subject that will inevitably resist mastery.' Andrew Hadfield, Times Literary SupplementTable of Contents1. Beyond shallow and silence: war in the age of Shakespeare Paul E. J. Hammer; 2. Just war theory and Shakespeare Franziska Quabeck; 3. Shakespeare on civil and dynastic wars David Bevington; 4. Foreign war Claire McEachern; 5. War and the classical world Maggie Kilgour; 6. 'The question of these wars': Shakespeare, warfare, and the chronicles David Scott Kastan; 7. Instrumentalizing anger: warfare and disposition in the Henriad Gail Kern Paster; 8. War and Eros David Schalkwyk; 9. Shakespeare's language and the Rhetoric of war Lynne Magnusson; 10. Staging Shakespeare's wars in the twentieth and twenty-first centuries Michael Hattaway; 11. Reading Shakespeare's wars on film: ideology and montage Gregory Semenza; 12. Shakespeare and World War II Garrett A. Sullivan Jr; 13. Henry V and the pleasures of war Paul Stevens; 14. Macbeth and Trauma Willy Maley; 15. Coriolanus and the use of power Catherine M. S. Alexander.

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Book SynopsisThis anthology contains English translations of five plays by two of the best practitioners of Roman comedy, Plautus and Terence. The plays, Menaechmi, Rudens, Truculentus, Adelphoe, and Eunuchus, provide an introduction to the world of Roman comedy. As with all Focus translations, the emphasis is on a handsomely produced, inexpensive, readable edition that is close to the original, with an extensive introduction, notes and appendices.

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Book SynopsisThis is an outstandingly useful edition of Prometheus Bound. The translation is both faithful and graceful, and the introduction to this difficult play is a model of clarity, intelligence, and a profound familiarity with the workings of Greek myth, Greek literature, and literature in general. --Rachel Hadas, Department of English, Rutgers UniversityTrade ReviewThis is the best Prometheus Bound in English. Deborah Roberts' translation is accurate, readable, and true to the original in idiom, imagery, and the combination of a high style with occasional colloquialism. The informative notes and perceptive Introduction will help readers to experience the play with heightened pleasure and understanding. --Seth L. Schein, Professor of Comparative Literature, University of California, Davis

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Book SynopsisOn 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 TheatreRoyal, Drury Lane, London. The title page to the published version claims that the play was 'Written Originally by W.SHAKESPEARE'. Double Falsehood's plot is a version of the story of Cardenio found in Cervantes's Don Quixote (1605) as translated by Thomas Shelton, published in 1612 though in circulation earlier. Documentary records testify to the existence of a play, certainly performed in 1613, by John Fletcher and William Shakespeare, probably entitled The History of Cardenio and presumed to have been lost. The audience in 1727 would certainly have recognised stage situations and dramatic structures and patterns reminiscent of those in Shakespeare's canonical plays as well as many linguistic echoes. This intriguing complex textual and performance history is thoroughly explored and debated in this fully annotated edition, including the views of other major Shakespeare scholars. The illustrated introduction provides a comprehensive overview of the debates and opinions surrounding the play and the text is fully annotated with detailed commentary notes as in any Arden edition.Trade Review‘The publication of Theobald's adaptation in the Arden Shakespeare series is to be welcomed.' * Jonathan Bate, Daily Telegraph *‘For most of the three centuries since its debut, Double Falsehood; or, the Distrest Lovers has been ridiculed as a hoax or just disregarded. Yesterday that changed when The Arden Shakespeare, one of the best regarded scholarly editions of Shakespeare's plays, published Double Falsehood, endorsing its credentials and making it available for the first time in 250 years.' * The Times *‘The play's ‘bardic provenance' has been given fresh credibility by publishers Arden, who have included it in a new series of Shakespeare's work. The publication of the play, which is bound to spark heated scholarly discussion, comes after a ten year mission to crack a literary mystery by Professor Brean Hammond, of Nottingham University.' * Daily Mail *‘Professor Brean Hammond will publish compelling new evidence next week that the play is.. substantially based on a real Shakespeare play called Cardenio. Hammond has been backed in his assertion by the Shakespeare published Arden...' * The Guardian *‘This week, British publishers Arden Shakespeare published the play for the first time in 250 years with evidence Hammond has gathered over the past decade that shows Shakespeare's hand in the work, which was co-written by John Fletcher.' * CNN.com *‘Play, possibly reworked from Shakespeare, is added to a literary collection:: A play from the 1700s contains reworked material of Shakespeare's has gained a qualified endorsement from the Arden Shakespeare, a scholarly anthology of that playwright's work.' * New York Times *'...a thorough and judicious account of the relevant scholarship....Brean Hammond's excellent edition is indispensable.' * Times Literary Supplement (May 2010) *'The play was recently published by the Arden Shakespeare, for the first time in 250 years, with evidence Prof Hammond has gathered over the past decade that shows Shakespeare's hand in the work.' * Birmingham Post (July 2010) *'It is brilliant and unusual; the Bard's style and influence seemed irrefutable...even though there is a darker twist to the dialogue and plot than one might expect from him immediately.' * The Observer (January 2011) *

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Book SynopsisWilliam Shakespeare's Twelfth Night is a comedy. In medieval and Tudor times, the 'Twelfth Night' was the end of a winter festival that started on 31 October (All Hallows Eve, or as we know it today, Halloween). Mulled cider was drunk, and special pastries baked, and a king and queen (who could have been servants in charge for the night) ruled the festival until the clock struck midnight. People expected a topsy-turvy evening, with singing and clowning about, when the normal order of things was reversed, and the Lord of Misrule symbolised the world turning upside down. Shakespeare's Twelfth Night, with its rebellious gender jokes, crossdressing, practical jokes, daft costumes, moonstruck lovers and comic revenge would have been amusing for audiences. Today we study the play to understand the language and appreciate the play's entertaining nature, and we enjoy the farcical mixing- up of men and women, and the funny characters such as Malvolio. This new edition includes the complete text with explanatory notes, Shakespeare's language, and themes, and also explores typical exam themes and questions.Table of ContentsIncludes: Introduction The Story of Twelfth Night The Play's Characters Themes and Language Examining the Play The Play Notes throughout

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Book SynopsisThis book is about a mad king and a mad duke. With original and iconoclastic readings, Richard van Oort pioneers the reading of Shakespeare as an ethical thinker of the "originary scene," the scene in which humans became conscious of themselves as symbol-using moral and narrative beings. Taking King Lear and Measure for Measure as case studies, van Oort shows how the minimal concept of an anthropological scene of origin—the "originary hypothesis"—provides the basis for a new understanding of every aspect of the plays, from the psychology of the characters to the ethical and dialogical conflicts upon which the drama is based. The result is a gripping commentary on the plays. Why does Lear abdicate and go mad? Why does Edgar torture his father with non-recognition? Why does Lucio accuse the Duke in Measure for Measure of madness and lechery, and why does Isabella remain silent at the end? In approaching these and other questions from the perspective of the originary hypothesis, van Oort helps us to see the ethical predicament of the plays, and, in the process, makes Shakespeare new again.Trade Review"This is criticism of the highest order, whose long, careful readings of King Lear and Measure for Measure are in dialogue with the finest readers of Shakespeare for the past century." —Blair Hoxby, Stanford University"A rigorous yet highly readable attempt to understand Shakespeare and neoclassical drama in general in new terms, Shakespeare's Mad Men demonstrates in admirable detail the analytical power of generative anthropology wielded by a powerful intelligence."—Eric Gans, University of California, Los Angeles"Attentive to both the ruses of bad faith and the truths disclosed by Shakespeare's language, van Oort addresses our human predicament as symbol-making creatures whose search for love is troubled by the ceaseless drive for mastery."—Julia Reinhard Lupton, University of California, Irvine"van Oort's reading is nothing less than a stunning provocation."—Amir Khan, Shakespeare Quarterly"[R]eaders... will find value and pleasure in van Oort's compelling readings, and his clear style makes complex concepts pleasingly accessible."—Molly G. Yarp, Times Literary Supplement"Eminently readable, Shakespeare's Man Men attempts to engage and explain the larger questions the plays raise, particularly why characters behave the way they do and make the choices they do. The readings are original and offer exciting ways to engage with the plays. Highly recommended."—K. J. Wetmore Jr., CHOICETable of ContentsIntroduction 1. The King's Last Potlatch 2. The Judge, the Duke, His Wife, and Her Lover Conclusion

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Book SynopsisClouds has always fascinated students of philosophy because of its portrayal of Socrates as an atheist and a teacher of dishonest rhetoric, justly punished by the agents of the gods whom he refuses to recognise. [Greek text with facing translation, commentary and notes. 2007 reprint of the 1991 third edition, with addenda and a new bibliography.]Trade Review‘For an overall series of the entire corpus, including critical text, commentary, translation, and full introduction, all subsumed to one man’s intelligent analysis and wide-ranging scholarship, Sommerstein stands triumphantly alone. [...] Aristophanes is lucky to have so devoted, erudite, and witty a modern celebrant.’Scholia‘This work is a fine and unpretentious introduction to Aristophanic comedy.’Journal of Hellenic Studies'Sommerstein has exercised throughout the refreshing independence of judgement, backed by learning.’JACTTable of ContentsPrefaceAddenda 2007Select BibliographyBibliography to CloudsReferences and AbbreviationsCLOUDS Introductory Note Select Bibliography Note on the Text Sigla Text and Translation Notes

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Book SynopsisAnother in the Focus Classical Library modern translations of works from the Classical world. This series of translations is noted for the clarity of translation and fidelity to the intent of the original work, with notes and an introduction that provide the student with access to the intent of the author in the original. As such these works are outstanding for their ability to provide the reader with the sense of the original as it was understood in its time and an excellent starting point for any interpretation or adaptation. The Acharnians is one of Aristophanes' anti-war comedies.

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Book SynopsisFrom Allie Esiri, editor of the bestselling A Poem for Every Day of the Year and A Poem for Every Night of the Year, comes this beautiful audio anthology of Shakespeare's works.William Shakespeare wrote at least 37 plays, 154 sonnets and a handful of longer poems and you can discover them all here. Each track of this unique collection contains an extract, which might be a famous poem, quote or scene, matched to the date, performed by leading actors such as Sir Simon Russell Beale, Helen McCrory, and Damian Lewis. Allie Esiri's introductions give her readers a new window into the work, time and life of the greatest writer in the English language. Shakespeare for Every Day of the Year is perfect for listening or sharing and brings you Shakespeare’s best-known and best-loved classics alongside lesser known extracts read by a range of award-winning Shakespearean actors. Esiri’s entertaining and insightful thoughts on each entry will fill your year with wonder, laughter, wisdom and wit.The complete cast of performers are: Sir Simon Russell Beale, Helen McCrory, Damian Lewis, Hattie Morahan, Pappa Essiedu, Jade Anouka, Ben Allen and Jot Davies.

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Book Synopsis''I see a man''s life is a tedious one.''Set in Ancient Britain, Cymbeline is a play of deceit, disguise, banishment, and fidelity against the backdrop of a Roman invasion. When the King of Britain Cymbeline discovers his daughter''s secret marriage, he banishes her husband to Rome, who then accuses Innogen of being unfaithful. Innogen must evade deadly plots and homicidal jealousy to restore her name. Long recognised as a response to James VI and I''s project to unite England and Scotland, the play conjures ancient British history at a moment when that history was eroding, revealed as a medieval invention. This sense of historical endings is entangled with Cymbeline as a late play, and its numerous apparent callbacks across Shakespeare''s career.The New Oxford Shakespeare offers authoritative editions of Shakespeare''s works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare''s work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare''s work.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.

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Book SynopsisCoriolanus is perhaps the most brilliant political play ever written. Set in Ancient Rome, it remains a gripping psychological study of the relationship between personality and politics. The introduction to this new edition considers Shakespeare''s adaptation of his historical material (Plutarch''s Lives) in relation to the social and political conditions in London and Stratford at the time of the play''s composition, also offering new evidence that it was written in 1608. Professor Parker examines the play''s history and particularly its staging at the Blackfriars theatre, where it was probably the first of Shakespeare''s plays to be presented and for which it may have been written. A thorough commentary pays special attention to the needs of actors and directors. 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 mostTrade Review'Stanley Wells' OUP Complete Works of Shakespeare is now eight years old and has spawned a new Oxford Shakespeare which appears now in splendidly affordable volumes in that nonpareil of libraries of good reading The World's Classics.' The Oxford Times * English Studies Offprint from vol.77 Number 1, January 1996 *

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Book SynopsisHenry V, the climax of Shakespeare''s sequence of English history plays, is an inspiring, often comic celebration of a young warrior-king. But it is also a study of the costly exhilarations of war, and of the penalties as well as the glories of human greatness.Introducing this brilliantly innovative edition, Gary Taylor shows how Shakespeare shaped his historical material, examines controversial critical interpretations, discusses the play''s fluctuating fortunes in performance, and analyses the range and variety of Shakespeare''s characterization. The first Folio text is radically rethought, making original use of the First Quarto (1600). 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 c

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Book SynopsisTrade Review`authoritatively tackles one of the most textually troubling plays' Sunday Times'Stanley Wells' OUP Complete Works of Shakespeare is now eight years old and has spawned a new Oxford Shakespeare which appears now in splendidly affordable volumes in that nonpareil of libraries of good reading The World's Classics.' The Oxford Times

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Book SynopsisTen of Shakespeare's greatest plays, retold for children by multi-award winning author Geraldine McCaughrean.From love, jealousy, greed and betrayal to mad kings, magic and murder, Geraldine McCaughrean retells some of Shakespeare's best-known stories, including Romeo and Juliet, Henry the Fifth, A Midsummer Night's Dream, Julius Caesar, Hamlet, Twelfth Night, Othello, King Lear, Macbeth and The Tempest.With easy to follow prose punctuated with well-known quotations and featuring a cast list for each play, this accessible collection will delight and entertain readers of all ages.Trade ReviewThe contents are not only a pleasing translation, as it were, but written with the hallmarks of a craftsman: skilful simplicity and a well trained eye for the telling phrase. - Theatre Magazine

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Book SynopsisDavid 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. Conventionally regarded as a history play, much of it is in fact conspicuously invented fiction, and Kastan argues that the non-historical, comic plot does not simply parody the historical action but by its existence raises questions about the very nature of history. The full and engaging introduction devotes extensive discussion to the play's language, indicating how its insistent economic vocabulary provides texture for the social concerns of the play and focuses attention on the central relationship between value and political authority.Trade Review'It is the superbly generous girth of Shakespeare's Henry IV plays that makes them so remarkable' * Charles Spencer, Daily Telegraph, 15.07.10 *'Shakespeare's story of a troubled usurper, a rebel age, a dissolute prince and his Falstaff.' * Libby Purves, The Times, 16.07.10 *'This is Shakespeare's masterpeice where diseaeses are turned to commodity, the hostess is eaten out of house and home, citizens are urged to construe the time to their neccessities, and white hairs ill become a fool and jester.' * Michael Coveney, Independent, 16.07.10 *

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Book SynopsisThe entire play translated into plain English! "The course of true love never did run smooth;" With its mix of real people who stumble into a fairy kingdom (with it's own problems!) it's little wonder that this play is one of the best loved and most performed of all Shakespeare's masterpieces.

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Book SynopsisShakespeare in easy-to-use segments for high school and college students. Now students are able to sample a variety of his plays and come to a more complete understanding. Scenes only require from 2-7 characters and are 15-25 minutes in length, making them ideal for classroom performance or for contests, auditions and acting workshops. Each scene is preceded by a brief description of the characters and a plot synopsis.

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Book SynopsisOffers up-to-date coverage of screen versions of King Lear, featuring films, TV productions, translations, free retellings and appropriations from around the world. This book will appeal to libraries and specialists working on King Lear in courses within Shakespeare studies, Shakespeare in performance and Shakespeare on screen.Trade Review'… this volume provides a perfect foundation from which to disperse and dislocate Lear's screen presence ever further.' Peter Kirwan, Cahiers Élisabéthains: A Journal of English Renaissance Studies'The empathy that pervades the latest addition to the excellent Shakespeare on Screen series is at times overwhelming … this volume provides a perfect foundation from which to disperse and dislocate Lear's screen presence ever further.' Peter Kirwan, The Shakespeare Newsletter'The collection contains more richly suggestive essays than I have space to mention; it will be indispensable to students of King Lear. The editors' calculated broad approach creates a collection that is more than the sum of its parts, and which is animated by a sense of conscience and compassion.' Sally Barnden, Shakespeare BulletinTable of Contents1. Introduction: dis-locating King Lear on screen Victoria Bladen, Sarah Hatchuel and Nathalie Vienne-Guerrin; Part I. Surviving Lear: Revisiting the Canon: 2. Lear's Fool on film: Peter Brook, Grigori Kozintsev, Akira Kurosawa Samuel Crowl; 3. Wicked humans and weeping Buddhas: (post)humanism and Hell in Kurosawa's Ran Melissa Croteau; Part II. Lear en abyme: Metatheater and the Screen: 4. Filming metatheater: the 'Dover cliff' scene on screen Sarah Hatchuel; 5. New ways of looking at Lear: changing relationships between theatre, screen and audience in live broadcasts of King Lear (2011–2016) Rachael Nicholas; 6. Re-shaping old course in a country new: producing nation, culture and King Lear in Slings and Arrows Lois Leveen; Part III. The Genres of Lear: 7. Negotiating authorship, genre and race in King of Texas (2002) Pierre Kapitaniak; 8. Romancing King Lear: Hobson's Choice, Life Goes On and beyond Diana E. Henderson; 9. 'Easy Lear': Harry and Tonto and the American road movie Douglas M. Lanier; Part IV. Lear on the Loose: Migrations and Appropriations of Lear: 10. Relocating Jewish culture in The Yiddish King Lear (1934) Jacek Fabiszak; 11. The Trump effect: exceptionalism, global capitalism and the war on women in early twenty-first century films of King Lear Courtney Lehmann; 12. Looking for Lear in The Eye of the Storm Victoria Bladen; 13. Between political drama and soap opera: appropriations of King Lear in US television series Boss and Empire Sylvaine Bataille and Anaïs Pauchet; 14. Afterword: Godard's King Lear Peter Holland; 15. King Lear on screen: select film-bibliography José Ramón Díaz Fernández.

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Book SynopsisEarly modern England was a nation alive with intense religious debate, with often violent results. Central to these debates were questions of prayer, questions powerful enough to splinter the English church and to fuel a ferocious civil war. This collection of thirteen newly commissioned essays traces the controversy and value given to the performance of prayer, through the body, the spoken word and written text, as well as its representation on stage. Through close readings of the works of Christopher Marlowe, William Shakespeare, John Donne, John Milton and Henry Vaughan amongst others, this book examines the performative aspects of prayer in a range of literary modes. This broad range of study is expanded further with chapters focussing on the private religious diaries of men and women throughout the seventeenth century, and the convergence of music and prayer in the work of William Byrd.Trade Review'Here, a range of voices deliver fresh insights in concentrated bursts that make for stimulating reading.' William T. FitzGerald, Bunyan StudiesTable of Contents1. Prayer, bodily ritual and performative utterance: Bucer, Calvin, and the Book of Common Prayer Brian Cummings; 2. The tradition of High Church Prayer in the seventeenth century Graham Parry; 3. Performed prayer and sixteenth-century non-conformism Joseph William Sterrett; 4. Enter Mercury, sleeping: delivering prayers on the early modern stage Chloe Preedy; 5. Prayer, performance and community in early modern drama Alison Findlay; 6. Playing at prayer: the spiritual failure of performance in Hamlet Christopher Hodgkins; 7. Prayer and musical performance: the verse anthem Simon Jackson; 8. The Protestant diary and the act of prayer Efrosini Botonaki; 9. Prayer in context: the dynamics of worship in Donne's Encænia Sermon (1623) Katrin Ettenhuber; 10. 'Your suit is granted': performing prayer in early modern English poetry Helen Wilcox; 11. 'The Royal Actor': King Charles I and the performance of prayer Robert Wilcher; 12. Vaughan's devotional prose as political act and prayer Donald Dickson; 13. 'The spirit of prayer inspired': invocation as prayer in Milton's poetic imagination Noam Reisner.

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Book SynopsisThe 72nd in the annual series of volumes devoted to Shakespeare study and production. The articles are drawn from the programme of the International Shakespeare Conference held in Stratford-upon-Avon in the summer of 2018. The theme is ''Shakespeare and War''.Trade Review'… it is a most useful collection offering many new insights into Shakespeare's plays. It proves particularly instructive, often original, and always pleasant to read.' Sophie Chiari, CerclesTable of ContentsList of illustrations; 1. Henry V after the War on Terror Ramona Wray; 2. Economies of gunpowder and ecologies of peace: accounting for sustainability; Randall Martin; 3. Shakespeare and religious war: new developments on the Italian sources of Twelfth Night Elisabetta Tarantino; 4. 'Thou laidst no sieges to the music-room': anatomising wars, staging battles Michael Hattaway; 5. Shakespearian narratives of war: trauma; repetition; and metaphor Ros King; 6. War without Shakespeare: reading Shakespearean absence, 1642–1649 Eoin Price; 7. Antic dispositions: Shakespeare, war, and cabaret Irene Makaryk; 8. The comedy of Hamlet in Nazi-occupied Warsaw: an exploration of Lubitsch's To be or not to be (1942) Reiko Oya; 9. The lion and the lamb: Hamlet in London during World War II Zoltán Márkus; 10. Dividing to conquer or joining the ReSisters: Shakespeare's Lady Anne (and Woolf's Three Guineas) in the wake of #MeToo Diana Henderson; 11. The Homeland of Coriolanus: war homecomings between Shakespeare's stage and current complex TV Christina Wald; 12. Scholarly method, truth, and evidence in Shakespearian textual studies Gabriel Egan; 13. Beautiful polecats: the living and the dead in Julius Caesar Lisa Hopkins; 14. Ancient aesthetics and current conflicts: Indian Rasa theory and Vishal Bhardwaj's Haider (2014) Melissa Croteau; 15. Failure to thrive Elizabeth Mazzola; 16. Tippett's Tempest: Shakespeare in The Knot Garden Michael Graham; 17. Tautological character: Troilus and Cressida and the problems of personation Samuel Fallon; 18. 'Rude wind': King Lear – canonicity versus physicality Peter Smith; 19. Content but also unwell: distributed character and language in The Merchant of Venice Elena Pellone and David Schalkwyk; 20. This autistic island's mine: neurodiversity, autistic culture, and the Hunter Heartbeat Method Sonya Freeman Loftis; 21. The Senecan tragedy of Feste in Twelfth Night Judith Rosenheim; 22. Shakespearean performance in England, 2018 Stephen Purcell and Paul Prescott; 23. Professional Shakespeare productions in the British Isles, 2017 James Shaw; 24. The year's contribution to Shakespeare studies: critical studies reviewed by Charlotte Scott; Shakespeare in performance reviewed by Russell Jackson; Editions and textual studies reviewed by Peter Kirwan; Abstracts.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year''s textual and critical studies and of the year''s major British performances. The theme for Volume 73 is ''Shakespeare and the City''. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.Table of Contents1. Continental Shakespeare Karen Newman; 2. The stranger at the door: belonging in Shakespeare's Ephesus Nandini Das; 3. City origins, lost identities and print errors in The Comedy of Errors Alice Leonard; 4. The circulation of youthful energy on the early modern London stage: migration, intertheatricality, and 'growing to common players' Harry R. McCarthy; 5. In conversation with Shakespeare in Jacobean London: social insanity and its taming schools in 1 and 2 Honest Whore Chi-Fang Sophia Li; 6. Hearing voices: signal vs urban noise in Coriolanus and Augustine's Confessions Lars Engle; 7. Caesar and Lear in Hong Kong: appropriating Shakespeare to express the inexpressible Miriam Lau Leung Che; 8. Before we sleep: Macbeth and the curtain lecture Neil Rhodes; 9. 'The story shall be changed': antique fables and agency in A Midsummer Night's Dream Charlotte Scott; 10. A lawful magic: new worlds of precedent in Mabo and The Winter's Tale Nicholas Luke; 11. 'Cabined, cribbed, confined': advice to actors and the priorities of Shakespearean scholarship' Michael Cordner; 12. 'What country, friends, is this?': Tim Supple's Twelfth Night revisited Peter J. Smith; 13. Through a glass darkly: Sophie Okonedo's Margaret as racial other in The Hollow Crown: The Wars of the Roses Jennie M. Votava; 14. 'Who's there?': Britain's twenty-first century obsession with celebrity Hamlet (2008-2018) Gemma Kate Allred; 15. Shakespearean performance in England 2019 Stephen Purcell and Paul Prescott; 16. Professional Shakespeare productions in the British Isles 2018 James Shaw; 17. Critical studies Charlotte Scott; 18. Shakespeare in performance Russell Jackson; 19. Editions and textual studies Peter Kirwan.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year''s textual and critical studies and of the year''s major British performances. The theme for Volume 74 is ''Shakespeare and Education. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.Table of Contents1. Whither goest thou, Public Shakespearian? Sharon O'Dair and Timothy Francisco; 2. Teaching Shakespeare in a Time of Hate Alexa Alice Joubin and Lisa S. Starks; 3. Playful Pedagogy and Social Justice: Digital Embodiment in the Shakespeare Classroom Gina Bloom, Nicholas Toothman, and Evan Buswell; 4. Digital Resources, Teaching Online and Evolving International Pedagogic Practice Christie Carson; 5. Teaching Shakespeare with Performance Pedagogy in an Online Environment Esther Schupak; 6. PPE for Shakespeareans: Pandemic, Performance, and Education Kevin A. Quarmby; 7. 'In India': Shakespeare and Prison in Kolkata and Mysore Sheila T. Cavanagh; 8. Shakespeare for Cops Jeffrey R. Wilson; 9. Younger Generations and Empathic Communication: Learning to Feel in Another Language with Shakespeare at the Silvano Toti Globe Theatre in Rome Maddalena Pennacchia; 10. Shakespeare in nineteenth-century Bengal: An Imperative of 'New Learning' Madhumita Saha; 11. Forging a Republic of Letters: Shakespeare, politics and a new university in early twentieth-century Portugal Rui Carvalho Homem; 12. Cultural Inclusivity and Student Shakespeare Performances in Late-Colonial Singapore, 1950-9 Emily Soon; 13. Using performance to strengthen the higher education sector: Shakespeare in twenty-first century Vietnam Sarah Olive; 14. Counterpublic Shakespeares in the American Education Marketplace Jillian Snyder; 15. Taking Love's Labour's Lost seriously Nigel Wood; 16. The Thyestean Language of English Revenge Tragedy on the University and Popular Stages Elizabeth Sandis; 17. Going to School with(out) Shakespeare: Conversations with Edward's Boys Harry R. McCarthy and Perry Mills; 18. Intimacy and Schadenfreude in Reports of Problems in Early Modern Productions Ceri Sullivan; 19. The True Tragedy as a Yorkist Play? Problems in Textual Transmission Richard Stacey; 20. Henry VIII and Henry IX: Unlived lives and re-written histories Laura Jayne Wright; 21. 'And his works in a glass case': The Bard in the Garden and the Legacy of the Shakespeare Ladies Club Genevieve Kirk; 22. Hamlet and John Austen's Devil with a (Dis)pleasing Shape Luisa Moore; 23. Shakespeare, #MeToo, and his New Contemporaries Pamela Royston Macfie; 24. 'While memory holds a seat in this distracted globe': A Look Back at the Arden Shakespeare Third Series Jennifer Young; 25. Shakespeare Productions in London Lois Potter; 26. Productions Outside London Peter Kirwan; 27. Professional Productions in the British Isles, January – December 2019 James Shaw; 28. The Year's Contribution to Shakespeare Studies: 1. Critical Studies reviewed by Jane Kingsley-Smith; 2. Editions and Textual Studies reviewed by Emma Depledge.

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Book SynopsisThis volume includes the text of the play as prepared by Craig Walker for The Broadview Anthology of British Literature—a text notable both for outstanding introductory material and annotations, and for the inclusion of parallel text versions of key scenes for which the texts in the Quarto and Folio versions are substantially different. Appendices in this edition include excerpts from key Shakespearean source material such as the anonymous True Chronicle History of King Leir, Spenser's The Faerie Queene, and Geoffrey of Monmouth’s Historia Regum Britanniae; excerpts from Samuel Harsnett's A Declaration of Egregious Popish Impostures; materials from the Annesley Case; and the happy ending from Nahum Tate's version of the play, which held the stage for 150 years after its first performance in 1681. This is one of several Broadview Anthology of British Literature Editions being released this year; those wishing to teach the text will have the option of including the convenient stand-alone book as part of a specially-priced shrink-wrapped package together with a volume of the anthology.Trade Review“The Broadview chooses the Folio as the basic text, but, significantly, adds notes throughout that point out the differences appearing in the Quarto version. In addition, in the case of the three scenes in which differences are most pronounced, the anthology prints both Folio and Quarto versions side by side. This method opens up illuminating and exciting possibilities in the classroom.... I regard the unhesitating confrontation with the difficulties of King Lear that is shown by the Broadview editors as a microcosmic illustration of the toughness, determination, and conscientiousness of the editors throughout this entire British literature anthology.” — Robert H. Ray, Baylor University (author of Approaches to Teaching Shakespeare’s King Lear)“... an exciting achievement ... It sets a new standard by which all other anthologies of British Literature will now have to be measured.” — Graham Hammill, SUNY—Buffalo“The Broadview Anthology of British Literature is no mere pretender to the throne long held by Norton; it is the new standard.” — Richard Nordquist, Armstrong Atlantic State UniversityTable of Contents Introduction William Shakespeare 1564–1616 King Lear King Lear In Context The Shakespearean Theater The Swan Theatre Titus Andronicus in Performance The Plot of an Elizabethan Play Early Editions of King Lear Source Material from Geoffrey of Monmouth, The History of the Kings of Britain (12th century) Cap o’ Rushes from Anonymous, The True Chronicle History of King Leir and his Three Daughters (1605) from Raphael Holinshed, The Chronicles of England, Scotland, and Ireland (1577, 1587) from Edmund Spenser, The Faerie Queene (1590) The Annesley Case from Samuel Harsnett, A Declaration of Egregious Popish Impostures (1603) King Lear on Stage in the Seventeenth Century from Richard Johnson, “The Ballad of King Lear and his Three Daughters” (1620) from Nahum Tate, The History of King Lear (1681)

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Book SynopsisUpon opening their expensive new book in 1623, buyers of the folio collection of William Shakespeare’s plays were promised The Life of Henry the Fift. What they went on to read, however, was not a full “life” in the modern biographical sense. The battle of Agincourt is the play’s main event; every scene leads up to or follows directly from the climax of one of England’s most one-sided and famous victories. The play’s ambiguous portrayal of war has spurred critical debate for centuries, and its performances have reflected shifting political and cultural views.James D. Mardock’s Introduction provides an extensive discussion of Henry V’s critical and stage histories and explores the play’s complex relationship with other history plays (and with history itself). The appendices provide materials on the play’s historical background and sources, as well as documents on contemporary warfare. Additional materials, including an annotated text of the 1600 quarto (Q1) edition, are available on the Internet Shakespeare Editions website.A collaboration between Broadview Press and the Internet Shakespeare Editions project at the University of Victoria, the editions developed for this series have been comprehensively annotated and draw on the authoritative texts newly edited for the ISE. This innovative series allows readers to access extensive and reliable online resources linked to the print edition.Trade Review“This is an outstanding edition. Its clear, straightforward, and rich annotations make it eminently suitable for the classroom, as do the judiciously compiled appendices of historical documents (as carefully annotated as the play itself). However, it is James D. Mardock’s introduction that is the real gem here: although accessible enough for an undergraduate reader, it stands as a gracefully argued, learned, and remarkably acute major piece of criticism in its own right, a genuine contribution to the scholarly debates about Henry V.” — Holger Syme, University of Toronto“Once again the Broadview/Internet Shakespeare editors provide a wonderfully lucid and contextually rich scholarly text. The edition provides well-chosen primary sources to illustrate ideologies of warfare, English/French military practices, Salic law, and many of the interesting material references in the play. With these resources, the Broadview Henry V intelligently engages readers in the world of Shakespeare’s drama. An extensive and detailed introduction is particularly thorough on the play’s performance history (stage and screen) from its earliest productions to the early 21st century. The play-text itself is admirably set, with helpful glosses and restrained but useful footnotes. The whole edition is nicely balanced between a clean, clear text and a rich border of carefully curated historical information.” — Elizabeth Hodgson, University of British ColumbiaTable of ContentsFOREWORDACKNOWLEDGEMENTSINTRODUCTIONSHAKESPEARE’S LIFESHAKESPEARE’S THEATREWILLIAM SHAKESPEARE AND HENRY V:A BRIEF CHRONOLOGYA NOTE ON THE TEXTTHE LIFE OF HENRY THE FIFTHAPPENDIX A: HISTORICAL BACKGROUND Historical Figures in Henry V Genealogy of the English Monarchy APPENDIX B: SOURCES AND LEGACIES From Raphael Holinshed, Chronicles of England, Scotland, and Ireland (1587) From The Famous Victories of Henry the Fifth (anonymous, c. 1585) From John Lyly, Euphues and His England (1580) Michael Drayton, “The Ballad of Agincourt” (1606/1619) APPENDIX C: SIXTEENTH-CENTURY ATTITUDES TO WAR From Stephen Gosson, The Trumpet of War: A Sermon Preached at Paul’s Cross the Seventh of May 1598 (1598) From Barnabe Rich, Alarm to England (1578) From Balthazar Ayala, Three Books on the Law of War (1582) From Richard Crompton, The Mansion of Magnanimity (1599) From Robert Barret, The Theoric and Practic of Modern Wars, Discoursed in Dialogue Wise (1598) Works Cited and Bibliography

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Book SynopsisAlthough other Shakespeare plays offer higher body counts, more gore, and more plentiful scenes of heartbreak, Othello packs an unusually powerful affective punch, stunning us with its depiction of the swiftness and thoroughness with which love can be converted to hatred, and forcing us to confront our complicity with social and political institutions that can put all of us—but especially the most vulnerable among us—at risk.This edition features a variety of interleaved materials—from facsimile pages and musical scores to illustrations and extended discussions of myth and folklore—that provide a context for the social and cultural allusions in the play. Appendices offer excerpts from Shakespeare’s key sources and historical materials on marriage, jealousy, and the treatment of people of African descent in Elizabethan England.A collaboration between Broadview Press and the Internet Shakespeare Editions project at the University of Victoria, the editions developed for this series have been comprehensively annotated and draw on the authoritative texts newly edited for the ISE. This innovative series allows readers to access extensive and reliable online resources linked to the print edition.Trade Review“The Tragedy of Othello, the Moor of Venice has found here its ideal edition for our times. In addition to Jessica Slight’s unfussy and accessible text, the Broadview/Internet Shakespeare Edition offers an up-to-date selection of images, sources, analogs, and historical readings, many of them not seen before in connection with Othello. Race, ethnicity, sexuality, religion, household governance, and early modern psychology receive broad and deep attention, inviting readers to encounter Shakespeare’s play in strikingly contemporary terms.” — Bruce R. Smith, University of Southern CaliforniaTable of ContentsFOREWORDACKNOWLEDGEMENTSINTRODUCTIONSHAKESPEARE’S LIFESHAKESPEARE’S THEATERWILLIAM SHAKESPEARE AND OTHELLOA BRIEF CHRONOLOGYTHE DATE OF THE PLAYA NOTE ON THE TEXTTHE TRAGEDY OF OTHELLO, THE MOOR OF VENICEAPPENDIX A: SOURCES AND EARLY ANALOGS From Cinthio, Gli Heccatommithi (1565) From Geoffrey Fenton, Certain Tragical Discourses (1567) From George Peele, The Battle of Alcazar (1588–89) From Robert Greene, Selimus (1594) From William Shakespeare, Titus Andronicus (1594) From William Shakespeare, Shakespeare’s Sonnets, Sonnets 57 and 58 (1609) From Thomas Coryate, Coryats Crudities (1611) From Maurice G. Dowling, Othello Travestie (1836) APPENDIX B: CULTURAL CONTEXTS Prayers for Protection against Ottoman Attacks a. A form to be used in common prayer (1565)b. Matthew Parker, Archbishop of Canterbury, A form to be used in common prayer (1566) Elizabeth I, Letters Permitting Deportation of Blackamoors from England (1596–97) a. 11 July 1596b. 18 July 1596 From Robert Cleaver, A Godly Form of Household Government for the Ordering of Private Families (1598) From Thomas Wright, The Passions of the Mind in General (1604) From Ste[phen?] B., Counsel to the Husband: To the Wife Instruction (1608) From Nicholas Coeffeteau, “Of Jealousy, Whether it Be an Effect and Sign of Love” (1621) WORKS CITED AND BIBLIOGRAPHY

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Book SynopsisEnglish drama between the late fifteenth century and the late sixteenth centuries is as diverse as it is engaging; this anthology brings together eighteen of the most interesting and important dramatic works from the period. The plays have been chosen to give a broad view of the drama produced in Tudor England. They testify to the eclectic tastes of sixteenth-century audiences, ranging from morality plays (Mankind, Everyman), to comedies inspired by the Roman plays of Terence and Plautus (Ralph Roister Doister), to tragedies inspired by the plays of Seneca (Gorboduc, Cambises). In later plays, morality plots rub shoulders with slapstick comic business (The Longer Thou Livest The More Fool Thou Art, The Three Ladies of London), and classical gods intervene in the affairs of England’s regions (Gallathea). While some of the plays offer pure entertainment, others have a clear political agenda. King Johan is presented as a prototype for English resistance to Rome's Catholicism; Gorboduc's decision to abdicate and divide his kingdom highlights the vexed question of the English succession under a childless queen. Other plays comment more obliquely on contemporary events. Play of the Four Elements reflects on England's nascent maritime expeditions to the New World, while The Three Ladies of London comments topically on immigrant overcrowding in England's port towns, and the dangers of England's trade in the Mediterranean. Some plays push the boundaries of what the theatre can do in staging violence (Cambises) and questioning gender roles (Gallathea).Designed for undergraduate use, the anthology includes extensive explanatory annotations and a substantial introduction to each play; spelling and punctuation have been partially modernized in the interests of making the texts more accessible to students. In all this, the anthology follows principles similar to those developed for Christina M. Fitzgerald's and John T. Sebastian's Broadview Anthology of Medieval Drama; several of the plays from that anthology are also included here, while the rest have been newly edited for this volume, under the supervision of General Editor Alan Stewart.Trade Review“This is a superb teaching resource, opening up the study of Tudor drama through modernized, lightly annotated editions of eighteen well-chosen plays, ranging from the late fifteenth century to the late 1580s and encompassing a variety of genres (‘morality’, ‘interlude’, comedy, tragedy). Scholarly, but accessibly pitched, introductions situate each text, paying attention to performance and original audiences as well as textual and contextual issues. Notes on the texts, preceding each play, provide clear explanations of editorial policy and the source of the text on which the edition is based. The editors are also impressively attuned to shifts in pronunciation, using annotations to highlight where rhyme or meaning is obscured by changes to how words are sounded.” — Cathy Shrank, University of Sheffield“Interest in that curious creature, ‘Tudor literature,’ has grown enormously in the last several decades. But accessible and readable editions of Tudor writings have lagged behind. In the important case of drama, The Broadview Anthology of Tudor Drama completely changes the landscape. Alan Stewart and his excellent team of editors have put together an immensely readable collection, with brief and knowledgeable introductions, thorough glosses, and helpful explanatory notes, focused on a perfect selection of plays. The collection showcases the fascinating range, experimentalism, and vitality of Tudor drama: morality plays, humanist comedies, court farces, Protestant history places, Romanesque school comedies, political tragedies, coterie satire, and much more, from the household drama of Henry VII’s reign up to the foundational early playhouse drama of the Elizabethan years. This anthology will become the new standard. If you want to take up the pleasures of studying, teaching, or just reading Tudor drama, this collection is for you.” —Kent Cartwright, University of Maryland“The Broadview of Anthology of Tudor Drama is essential reading. Generously annotated and contextualized, it enriches our sense of performance culture in sixteenth-century England. Its contents demonstrate the eclecticism and variety of this performance culture; staples in theatre history (Mankind and Everyman) and plays that have garnered new scholarly interest (Gallathea and Friar Bacon and Friar Bungay) rub elbows with less well-known titles and examples of under-studied genres, including the proverb play. The result is a textual electricity that proves a dramatic companion to the conflicts and debates about government and society which typify Tudor England.” — Vin Nardizzi, University of British Columbia“A splendid anthology that shows the range and diversity of English drama from the late Middle Ages to the rise of the commercial theatres in London. This expertly edited work contains a variety of comedies, tragedies, moralities, allegorical plays, and interludes to give any reader a proper overview of English theatre during the transitional dynasty of the Tudors. There are relatively familiar plays such as Everyman and Gorboduc, as well as a number of lesser-known gems such as Like Will to Like and The Longer Thou Livest, The More Fool Thou Art as well as a vital work, The Three Ladies of London, by one of the first stars of the public theatre, Robert Wilson. The anthology will be a great asset for teachers and students, and also for general readers and scholars eager to have a readily available guide to the theatre of the long sixteenth century.” — Andrew Hadfield, University of Sussex“With its breadth of coverage, concise and informative introductions, and accessible texts, The Broadview Anthology of Tudor Drama makes an ideal textbook for teaching English drama from 1485-1603. This volume showcases a range of dramatic materials, from medieval morality plays to Elizabethan interludes, both highlighting and questioning their importance to the history of English drama. Alan Stewart and the contributing editors judiciously modernize spelling, offer helpful glosses and explanatory footnotes, and, in their introductions, synthesize scholarship to date while positioning the works in larger historical, cultural, religious, literary, and performance traditions. This volume is a valuable contribution to scholarship about Tudor Drama that will, in turn, surely precipitate further study.” — Laura Estill, St. Francis Xavier UniversityTable of Contents Mankind (c.1470) Everyman (late 15th century) Henry Medwall - Fulgens and Lucres (1497) The Interlude of Youth (early 16th century) John Rastell - The Four Elements (1519) John Skelton - Magnificence (late 1510s-early 1520s) John Heywood - The Play of the Weather (1533) John Bale - King Johan (1538) John Redford - The Play of Wit and Science (1544) Nicholas Udall – Ralph Roister Doister (1552) Gammer Gurton's Needle (1553) Thomas Norton and Thomas Sackville - Gorboduc (1562) Ulpian Fulwell - Like Will to Like (1568) William Wager - The Longer Thou Livest The More Fool Thou Art (1569) Thomas Preston - Cambyses (1569) Robert Wilson - Three Ladies of London (1581) John Lyly - Gallathea (1584) Robert Greene - Friar Bacon and Friar Bungay (1589)

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Book SynopsisThe York Corpus Christi Play as we know it consists of 47 surviving individual plays or “pageants,” 27 of which are included in this volume. (The whole is always referred to in the singular, following the usage of medieval York itself.) This cycle of plays was produced by the York civic government and its occupational guilds—called “crafts”—and performed annually for nearly 200 years on Corpus Christi day, a mid-summer feast with a movable date that could fall between May 23 and June 24. The York Corpus Christi play is the only extant and complete cycle of plays performed on Corpus Christi day in England throughout the play's life. The earliest record we have of the York play is from 1376; the last performance until the 20th century was in 1569. Together these 27 plays represent the cycle’s core narrative of creation, fall, and salvation. In addition to 27 of the pageants, this new edition includes extensive annotation (both marginal glosses and explanatory footnotes), a wide-ranging introduction, and a helpful selection of background contextual materials.Trade Review“Fitzgerald has made the York Corpus Christi Play accessible to students in a way that it has never been before. She provides an instructive and incisive overview of the play’s complex performance history, spanning from the fourteenth century to the present day. The pageants’ straightforward introductions and modernized spellings open them up to a broader audience of students who will undoubtedly enjoy analyzing and performing these foundational works of English drama.” — Kimberly Fonzo, The University of Texas at San Antonio“Christina M. Fitzgerald’s new edition of the York Plays will be a very valuable resource for teachers, students, and performers of early English drama. The volume features a well-chosen, expansive selection of pageants, including several important episodes anthologized for the first time. Combining well-edited texts and judicious annotations with key contemporary documents and images, Fitzgerald’s edition offers a richly explanatory introduction to one of England’s longest-lasting, most culturally significant performance traditions.” — Nicole R. Rice, St. John’s University“This useful textbook for the undergraduate classroom (or non-specialist) offers essential contextual material, ample footnotes, and adept glossing to assist students in discovering the complexity of the York Cycle. The play selection is intelligent and responsive to current critical trends. In addition, the lucid, up-to-date introduction and pageant notes set the Cycle in the context of urban lay devotion, facilitating deeper understanding of one of the most significant literary and cultural phenomena of the later Middle Ages. No doubt this will become the standard classroom edition.” — Margaret Aziza Pappano, Queen’s University “The York Corpus Christi Play offers students and scholars an outstanding overview of York’s social, economic, and literary past. Lucidly written, it situates the cultural complexity of York’s dramatic productions as both medieval and early modern phenomena. Fitzgerald’s judicious selection of plays maintains the feel for the original cycle, as she routinely edits them with an eye towards detail. She also glosses unfamiliar words and concepts, while providing content-rich headnotes to each play. An invaluable resource, the headnotes provide readers with comprehensive, relevant background information on theme, structure, and context, yet they don’t spoil the plays! This edition makes the York Corpus Christi plays accessible to a wide range of students in both literary studies and theater programs.” — Ann Hubert, St. Lawrence University “The Broadview Lucifer boasts, ‘I feel me featous and fair’ — here, and throughout this eminently teachable edition, Fitzgerald maintains York’s distinctive rhythm and diction, updating the spelling just enough so that undergraduates at all levels will quickly understand the words’ meaning (with the help of thoughtful glosses) while still feeling the poetry’s rap-battle bombast (and, later, its rich working-class pathos). Throughout, introductory material lays down key fundamentals (form, content, context, performance) for each pageant, providing built-in lecture notes and provocations for close reading. Traditional literary, religious, and archivally-based readings are well-represented here, but sharpened and updated toward use in woke twenty-first-century classrooms (Fitzgerald’s impressive prior scholarship on gender leaves many visible marks). Culminating in an enjoyable multimedia array of contextual materials, this edition is truly featous (elegant, neat, handsome, and cleverly fashioned), and certainly fair (not only pleasing to the eye, but also even-handed in its scholarship and implicit pedagogy).” — Matthew Sergi, University of Toronto, St. George Campus “Christina Fitzgerald provides an accessible edition, rich with supplementary materials, that is sure to be an immediate success with teachers of medieval drama. … With its balancing of an accessible text with a rich variety of resources for understanding the York Play's cultural contexts and history of performance, this convenient and thoughtfully put together book will undoubtedly become the new standard classroom edition of the York Play.” — Emma Lipton, The Medieval ReviewTable of Contents Introduction The York Corpus Christi Play: Selected Pageants The Barkers Pageant 1: The Creation of the Angels and the Fall of Lucifer The Plasterers Pageant 2: The Creation The Coopers Pageant 5: The Fall of Adam and Eve The Shipwrights Pageant 8: The Building of the Ark The Fishers and Mariners Pageant 9: The Flood The Parchmentmakers and Bookbinders Pageant 10: Abraham and Isaac The Hosiers Pageant 11: Moses and Pharaoh The Spicers Pageant 12: The Annunciation and Visitation The Pewterers and Founders Pageant 13: Joseph's Trouble About Mary The Tilethatchers Pageant 14: The Nativity The Chandlers Pageant 15: The Shepherds The Masons; The Goldsmiths Pageant 16: Herod and the Magi; The Offering of the Magi The Girdlers and Nailers Pageant 19: The Slaughter of the Innocents The Capmakers Pageant 24: The Woman Taken in Adultery and the Raising of Lazarus The Skinners Pageant 25: The Entry into Jerusalem The Bowers and Fletchers Pageant 29: Christ Before Annas and Caiaphas The Tapiters and Couchers Pageant 30: The First Trial Before Pilate: The Dream of Pilate’s Wife The Litsters Pageant 31: The Trial Before Herod The Tilemakers Pageant 33: The Second Trial Before Pilate: The Judgment The Pinners Pageant 35: The Crucifixion The Butchers Pageant 36: The Death of Christ The Saddlers Pageant 37: The Harrowing of Hell The Carpenters Pageant 38: The Resurrection The Winedrawers Pageant 39: Christ's Appearance to Mary Magdalene The Drapers Pageant 44: The Death of Mary The Weavers Pageant 45: The Assumption of Mary The Mercers Pageant 47: The Last Judgment In Context Four Middle English Crucifixion Poems (c. 1340-1400) “Ye that passen by the way” “Men rent me on rood” “Stand well, Mother, under rood” “I sike when I sing” Select Civic and Guild Records From the Mercers' Pageant Accounts (1462) From the City Chamberlains’ Rolls: Account of Receipts for Station Placement (1462) An Ordinance of the Tanners (1476) From the City Council Minutes: Two Judgments Concerning Pageant Costs (1517) Manuscript Images Page from the Tile Thatchers’ Nativity Page from the Girdlers’ and Nailers’ Slaughter of the Innocents Page from the Pinners’ Crucifixion Other Images Holkham Bible: Adam and Eve Bedford Hours: Noah Building the Ark Canterbury Psalter: Scenes from Christ’s infancy Holkham Bible: Crucifixion Gough Psalter: The Harrowing of Hell

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Book SynopsisThe world that William Shakespeare creates in The Tempest has many features that make it recognizably like the world we live in. There are bad, self-seeking people; brothers fall out with brothers; people who have power are reluctant to give it up; people fall in love; children love their fathers but want to break free. But there are elements in The Tempest's world that are very unlike the world we live in. There is a fairy-spirit; there is music in the very air of the island; and there is a powerful magician who can command the elements and even, he tells us, bring the dead back to life. Combining reality and magic, Shakespeare creates an uncanny but morally coherent world through the play's genre, design, themes, and characters. This edition features a variety of interleaved materials that expand upon allusions in the play and explore elements of its stagecraft. Appendices offer excerpts from Shakespeare's key sources and inspirations, along with historical materials on exploration and colonialism.Trade Review“I heartily welcome the new Broadview Shakespeare edition of The Tempest, edited by Paul Yachnin and JF Bernard… While fully explicating the play’s historical context, sources, and afterlife, the editors engage deeply with the play’s ethical ambiguities. They reveal The Tempest as a canonical play that speaks powerfully to today’s social concerns about justice, memory, revenge, service, freedom, and power.” — Gail Kern Paster, Professor Emerita, Folger Shakespeare LibraryTable of Contents Appendices Appendix A: From John Dryden and William Davenant’s The Tempest, or, The Enchanted Island (1670) Appendix B: Medea’s speech from Ovid’s Metamorphoses (Bk 7, pp. 89-90). Trans. Arthur Golding (At London : Imprinted by Robert Walde-graue, 1587) Appendix C: From Bartholomew de las Cases’ The Spanish colonie (London : [By Thomas Dawson] for William Brome, 1583) Appendix D: The Strachey Letter, from Purchas his pilgrimes (London : Printed by William Stansby for Henrie Fetherstone, and are to be sold at his shop in Pauls Church-yard at the signe of the Rose, 1625) Appendix E: From Aristotle’s discussion of “Natural Slaves” (The Politics, Book 1) Appendix F: From Michel de Montaigne’s “Of the Cannibals.” In The Essays of Montaigne. Trans. John Florio, (New York: Modern Library, 1933) Appendix G: From Juan Ginés de Sepúlveda, from The Second Democrate; Or, The Just Causes of the War against the Indians (c. 1548)

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Book SynopsisThis Broadview Edition of Robert Greene’s Selimus is the first single-volume, modernized edition of this underrated dramatic gem in over a century. First published in 1594, the play grippingly stages the bloody fratricidal warfare inaugurating the reign of Selim I (1512-20) as emperor of the Ottoman Empire. Contributing to the expansion of the range of readily available non-Shakespearean early modern English plays, the edition is designed for scholars and students alike, in the study, classroom, or theatre. The critically edited text of the play is accompanied by a full introduction, comprehensive annotations, and ample contextual material from the early modern period, including Greene’s pamphlet Greene’s Groatsworth of Wit.Trade Review“Having masterfully edited Marlowe’s original for Broadview, Mathew R. Martin now turns his attention to Selimus, one of the so-called ‘Sons of Tamburlaine.’ Martin’s judicious notes, commentary, and appendices ensure that students and scholars alike can make sense of the play’s complex web of Machiavellian intrigue, its engagement with contemporary anxieties about atheism, Islam, and empire, and its place in the repertory of the Queen’s Men.” — Brett Greatley-Hirsch, University of Leeds“This fine, user-friendly edition does a terrific job of contextualizing and explaining the play, showing its place in Elizabethan theatrical culture and making it newly accessible to readers. It reveals Selimus as not just blood and thunder but also an important document in the history of both Western perceptions of Islam and the emergence of atheism and Machiavellianism as philosophical positions.” — Lisa Hopkins, Sheffield Hallam University“This edition of Selimus gives us a provocative follow-up to Mathew Martin’s earlier editorial work on The Jew of Malta and Tamburlaine the Great. With an informative introduction and a wealth of detailed annotations, Martin alerts readers to the play’s essential socio-political and cultural contexts, especially those having to do with atheism and with Anglo-Ottoman relations in the medieval and early modern periods. Timely and informative, Martin’s Selimus will appeal as much to scholars and students interested in the eclectic canon of Queen’s Men plays as to book buyers wanting to expand their knowledge of Elizabethan drama.” — Kirk Melnikoff, University of North Carolina CharlotteTable of Contents AcknowledgementsIntroductionRobert Greene: A Brief Chronology of his Life and TimesA Note on the TextThe First Part of the Tragical Reign of Selimus, Sometime Emperor of the Turks Appendix A: Robert Greene, Greene’s Groatsworth of Wit (1592)Appendix B: Atheism and Machiavellianism 1. From Innocent Gentillet, A Discourse Upon the Means of Well Governing and Maintaining in Good Peace a Kingdom or Other Principality … Against Nicholas Machiavel the Florentine (1602) 2. Thomas Kyd, Letters to Sir John Puckering about Christopher Marlowe (1593) 3. Richard Baines, “A note containing the opinion of Christopher Marlowe concerning his damnable judgment of religion and scorn of God’s word” (1593) 4. From Francis Bacon, “Of Atheism” (1625) Appendix C: Early Modern English Representations of Islam 1. From George Whetstone, The English Mirror (1586) 2. From Anonymous, Sir Bevis of Hampton (1585) 3. From Giles Fletcher, The Policy of the Turkish Empire (1597) Works Cited and Further Reading

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Book SynopsisA book of selected scenes from Shakespeare''s most recognisable plays. Designs to solve classroom or workshop performance needs: only scenes with small casts are included; each scene contains two to seven characters; scenes are between five and twenty minutes in length; each scene is preceded by a plot synopsis and setting; scenes include character descriptions and motivation; excellent contest material.

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Book SynopsisThis is an English translation of Sophocles' famous tragedy of Oedipus and the fate he so much tries to avoid. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture.

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Book SynopsisThis is an English translation of Sophocles' tragedy of Oedipus who is banished from Thebes and confronts an array of obstacles that stand between him and the death he craves. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture.

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Book SynopsisThis is an English translation of Euripides'' tragedy The Trojan Women about the consequences of war; the victors and the fate of those defeated in war. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture.

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Book SynopsisGeorge Lyman Kittredge's insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume.These new editions have specific emphasis on the performance histories of the plays (on stage and screen). Features of each edition include: The introduction to the original Kittredge Edition Editor's Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play's performance history on stage and screen. Explanatory Notes. The explanatory notes either expand on Kittredge's superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare's sometimes demanding language. Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices. How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare's words allow the reader to envision the work "off the page." Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare's life. Some of the Chronologies include time chronologies within the plays. Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions' Introduction. Select Bibliography & Filmography Images from major productions, for comparison and scene study.

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Book SynopsisThis is an English translation of Euripides'' tragedy Hecuba about Hecuba''s grief over her daughter and son's deaths and the revenge she enacts over her son's death. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture. Euripides' Hecuba is one of the few tragedies that evoke a sense of utter desolation and destruction in the audience. The drama focuses on the status of women, those who are out of power and at the margins of society, by enacting the sufferings of Hecuba. With the city of Troy fallen, Hecuba and Polyxena, her daughter, are enslaved to Agamemnon. Hecuba is despondent with the news that Polyxena is chosen to be sacrificed at the tomb of Achilles. After the sacrifice, the body of her son Polydorus, already a ghost at the start of the drama, is discovered. Polymestor, a king in Thrace who Hecuba sent Polydorus to for safety reasons, murdered Polydorus for his gold. With the tacit complicity of Agamemnon, Hecuba plots her revenge against Polymestor. What transpires next has lasting implications for all involved, including a dramatic trial scene and Hecuba's ultimate metamorphosis.

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Book SynopsisThis anthology contains English translations of four plays by one of the best practitioners of Roman comedy, Plautus. The plays Casina, Amphitryon, Captivi and Pseudolus provide an introduction to the world of Roman comedy. As with all Focus translations, the emphasis is on a handsomely produced, inexpensive, readable edition that is close to the original, with an extensive introduction, notes and appendices.

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