An elaborately annotated edition of Shakespeare's masterpieces of wit and erotic word-play.
When a volume of poetry entitled Shake-speares Sonnets . Neuer before Imprinted appeared in 1609, Shakespeare was forty-five and most of his greatest plays had seen several performances. Some of the sonnets, speaking of the begetting of children, mortality and memory, art, desire and jealousy, are addressed to a beloved youth; others are addressed to a treacherous mistress, a "dark lady." Appended to the sonnets is "A Lover's Complaint," a beautiful poem in rhyme-royal in which a young woman is overheard lamenting her betrayal by a heartless seducer.
While Shakespeare's biographers continue their investigations, readers may find the "secret" of the sonnets in the poetry itself. In this spirit John Kerrigan provides an illuminating Introduction to the volume as a whole, together with 258 pages of commentaries on the poems, a textual history, and suggestions for further reading.
Edited with an Introduction by John Kerrigan.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

HarperCollins is proud to present its new range of best-loved, essential classics. 'We are such stuff As dreams are made on; and our little life Is rounded with a sleep.' Magical and dreamlike in its tone, Shakespeare's The Tempest begins with a storm of epic proportions and a shipwreck. Banished from Italy, Prospero lives on a remote island with his daughter. Using his magic, he vows to seek revenge on the injustice dealt to him by his brother, but in doing so, Shakespeare questions the difficulty of distinguishing 'men' from 'monsters', and the realities of justice.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

The acclaimed Pelican Shakespeare series, now in a dazzling new series design.<br /><br />This edition of Hamlet is edited with an introduction by series editor A. R. Braunmuller and was recently repackaged with cover art by Manuja Waldia. Waldia received a Gold Medal from the Society of Illustrators for the Pelican Shakespeare series.<br /><br />The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With stunning new covers, definitive texts, and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come.<br /><br />For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.<br /><br />SEE LESS

Each edition includes: · Freshly edited text based on the best early printed version of the play · Full explanatory notes conveniently placed on pages facing the text of the play · Scene-by-scene plot summaries · A key to famous lines and phrases · An introduction to reading Shakespeare's language · An essay by a leading Shakespeare scholar providing a modern perspective on the play · Illustrations from the Folger Shakespeare Library's vast holdings of rare books Essay by Cynthia Marshall The Folger Shakespeare Library in Washington, D.C., is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs.

This is a fully annotated edition of all the poems which are now generally regarded as Shakespeare's, excluding the Sonnets. It contains Venus and Adonis, The Rape of Lucrece, The Phoenix and the Turtle, The Passionate Pilgrim, and A Lover's Complaint. The introduction to the two long narrative poems examines their place within the classical and Renaissance European traditions, an issue which also applies to The Phoenix and the Turtle. John Roe analyses the conditions in which the collection was produced, and weighs the evidence for and against Shakespeare's authorship of A Lover's Complaint and the much-debated question of its genre. He demonstrates how in his management of formal tropes Shakespeare, like the best Elizabethans, fashions a living language out of handbook oratory. This updated edition contains a new introductory section on recent critical interpretations and an updated reading list.

阿登《哈姆雷特》的编者Ann Thompson and Neil Taylor除了编辑和注释了全本《哈姆雷特》，还整理了1603年和1623年的两个版本，作为辅助。这两个最早的版本可以给读者提供更多十七世纪莎士比亚时代的文化氛围。

Review
'I commend this new edition particularly for the introductory sections.' Shakespeare at the Centre Magazine
'... fine new edition ...Anthony B. Dawson's readable and reliable text, together with his excellent explanatory footnotes and his superb discussion of theatrical adaptations of the play, will make this edition a valuable resource for scholars as well as an attractive text for classroom use.' Shakespeare Quarterly
Product Description
Largely neglected during the eighteenth and nineteenth centuries, Troilus and Cressida has recently been proven popular on the stage as well as in studies. In this edition, Dawson views the play from a performance perspective--through commentary as well as in a detailed section on stage history featured in the introduction. His textual choices are often surprising but based on thoughtful analysis.

An ageing king makes a capricious decision to divide his realm among his three daughters according to the love they express for him. When the youngest daughter refuses to take part in this charade, she is banished, leaving the king dependent on her manipulative and untrustworthy sisters. In the scheming and recriminations that follow, not only does the king's own sanity crumble, but the stability of the realm itself is also threatened.

The introduction reviews the few known facts about this early Shakespeare play and discusses the puzzling problems of its date and authorship. The text has been freshly edited with the aim of presenting the play as revised for the first recorded performance in 1594, with the addition of stage business from the prompt-copy from which the Folio edition derives.
For over 100 years
has made available the broadest spectrum 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, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Product Description
[Full-Cast Audio Theater Dramatization. Lear is played by Trevor Peacock and Gloucester by Clive Merrison. Penny Downie is Goneril, Samantha Bond is Regan, and Julia Ford is Cordelia. Edgar is played by David Tennant, Edmund by Gerard Murphy, and the Fool by John Rogan.
This shattering drama of isolation and loss is one of the greatest tragedies in world literature.
King Lear of Britain has three daughters: the hard-hearted Goneril and Regan, and the good and gentle Cordelia. He determines to divide his kingdom between them, giving the largest share to she who can say she loves him the best. Lear's tragic lack of judgement and self-knowledge is paralleled by the blindness of the loyal Gloucester who is persuaded to reject his virtuous son Edgar in favor of the villainous Edmund.
Review
"Hearing Lear, rather than seeing it, emphasizes the power of Shakespearean language. As the aging king who gives up his throne, Trevor Peacock deteriorates from petulance to madness. Gerard Murphy delivers Edmund's monologue on his bastard condition with masterful control, humanizing evil with an anger born of oversensitivity to injustice. Julia Ford brings a gentle strength to Cordelia; her voice alone is enough to convince that she is virtuous but not weaker for it."
-- "AudioFile"

[Full-Cast Audio Theater Dramatization. Portia is played by Hadyn Gwynne and Shylock by Trevor Peacock. Julian Rhind-Tutt is Bassanio, and Bill Nighy is Antonio.]
In Shakespeare's most controversial play, the opposing values of justice and mercy must be resolved.
Antonio promises money to help his friend Bassanio woo Portia. He borrows the sum needed from the cruel Shylock, but there will be a dreadful penalty if the loan is not repaid. The golden world of Portias Belmont calls forth some of Shakespeare's most lyrical love poetry. But the dark shadow of Shylock is never far from the heart of this brilliant comedy as it moves toward its courtroom climax in which the opposing values of justice and mercy must be resolved.
Review
"A masterpiece of dramatic skill...The legal acuteness, the passionate declamations, the sound maxims of jurisprudence, the wit and irony interspersed in it, the fluctuations of hope and fear in the different persons, and the completeness and suddenness of the catastrophe, cannot be surpassed."
-- " William Hazlett, Shakespearean critic, on the courtroom scene in Act IV "
"Transforming any play into sound alone is a challenge, and one that is met by this Arkangel production...Like many of Shakespeare's comedies, its core a love story, but it is far more than that. The play is a controversial examination of justice, mercy, and prejudice. All the actors give strong performances...Trevor Peacock's portrayal of Shylock stands out among those of a solid cast. Peacock uses a sly voice for Shylock, saving his best for the comedy's climactic courtroom scene."
-- "AudioFile"

Rife with intrigue and treachery, this history play depicts the onset of the fifteenth-century Wars of the Roses between the houses of Lancaster and York.
Young King Henry VI has married the beautiful Margaret of Anjou but the new queen is ruthless and ambitious. Supported by the powerful Duke of Suffolk, Margaret plots the overthrow of her enemies, chief among them the Duke of Gloucester. But the Duke of York also aspires to the crown, and the common people, led by Jack Cade, are in rebellion. To the despair of the mild young king, England descends into civil war.
David Tennant plays Henry VI, and Kelly Hunter plays Queen Margaret. Norman Rodway is the Duke of Gloucester, Isla Blair the Duchess of Gloucester, and Clive Merrison plays the Duke of York.

The all-conquering King Henry V is dead and the throne is occupied by his infant son, Henry VI. The good Duke Humphrey of Gloucester has been appointed protector, but a struggle for power soon develops between the young king's Lancastrian relatives and the powerful house of York under Richard Plantagenet. Meanwhile the French, led by Joan of Arc, the maid of Orleans, threaten to win back the territories lost to Henry V.

A full-cast BBC Radio production of Shakespeare’s quick-witted summer tragedy. In a town full of hatred, where the streets ring with the Capulet/Montague feud, and swords are too easily drawn, Romeo and Juliet find each other - and love - and never let go. In Shakespeare’s famous play, first performed in 1595, the warring Capulets and Montagues have been sworn to keep the peace on pain of death. When Capulet’s daughter Juliet meets Montague’s son Romeo at a masked ball, they immediately fall in love. With the help of Friar Lawrence and Juliet’s Nurse, the pair decide to marry in secret. Disaster strikes when Romeo is banished for murder, and flees after just one night with his new wife. Juliet, meanwhile, is betrothed against her wishes to Count Paris. Friar Lawrence intervenes to help, but tragedy is at hand. Rising young stars Trystan Gravelle and Vanessa Kirby play the star-crossed lovers, with David Tennant as Prince Escalus, Rosie Cavaliero as the Nurse, and Ron Cook as Friar Lawrence.

The noble Veronese houses of Montague and Capulet are locked in a bitter feud. When Romeo, a Montague, and Juliet, a Capulet, fall in love they are swept up in a series of violent events and cruel twists of fortune.