King John had a distinguished life on the eighteenth- and nineteenth-century stage, and this edition presents the fullest account of its stage history. The play's political importance, its rich and varied language, and its skillful design suggest that King John deserves a high place among Shakespeare's historical tragedies. The textual analysis includes examination of several disputed emendations to the text. In the appendix, Beaurline surveys the arguments about the dating of Shakespeare's King John and the anonymous Troublesome Reign of King John, presenting new evidence for the possibility that Shakespeare's play was written first.
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.
Theory, History, Performance and Theatrical Persons
Author: P. Yachnin
Category: Literary Criticism
Shakespeare and Character brings together leading scholars in theory, literary criticism, and performance studies in order to redress a serious gap in Shakespeare studies and to put character back at the centre of our understanding of Shakespeare's achievement as an artist and thinker.
Argument was the basis of Renaissance education; both rhetoric and dialectic permeated early modern humanist culture, including drama. This study approaches Shakespeare's history plays by analyzing the use of argument in the plays and examining the importance of argument in Renaissance culture. Knowles shows how analysis of arguments of speech and action take us to the core of the plays, in which Shakespeare interrogates the nature of political morality and truth as grounded in the history of what men do and say.
King John of England and Phillip, the bastard son of Richard I, are allied against the united powers of France, Brittany Austria, and the Papacy. But the two allies are utterly different men: John is an unscrupulous tyrant, and the Bastard is a witty, somewhat cynical hero, English to the core. In this early history play, the Bastard is played by Michael Maloney and King John, by Michael Feast. Eileen Atkins appears as Constance, the mother of Arthur, Duke of Brittany. Unabridged.
Shakespeare's plays about the reign of Henry VI were for a long time undervalued, but a recent series of outstanding productions by the Royal Shakespeare Company and others has demonstrated their theatrical vitality. This is the first major edition in over twenty-five years. It takes account of recent discoveries concerning Shakespeare's early career and the problems of authorship, and pays particular attention to recent theatrical history. This textually authoritative edition reveals King Henry VI as a dramatically innovative and politically radical account of key events in the Hundred Years War.