THE NORTON SHAKESPEARE, 3E
Title Pages
Half-Title Page
Textual Editors
Title Page
Copyright Page
Digital Edition Contents
Contents by Genre
Contents by Date of First Publication
List of Illustrations
List of Recordings
Preface
Volume Editors’ Acknowledgments
General Textual Editors’ Acknowledgments
General Introduction
Shakespeare’s World
Life and Death
Wealth
Imports, Patents, and Monopolies
Haves and Have-Nots
Riot and Disorder
The Legal Status of Women
Women and Print
Henry VIII and the English Reformation
The Children of Henry VIII: Edward, Mary, and Elizabeth
The English Bible
A Female Monarch in a Male World
The Kingdom in Danger
The English and Otherness
James I and the Union of the Crowns
The Jacobean Court
James’s Religious Policy and the Persecution of Witches
The Playing Field
Cosmic Spectacles
Music and Dance
Alternative Entertainments
The Enemies of the Stage
Censorship and Regulation
Theatrical Innovations
Shakespeare’s Life and Art
Shakespeare’s Family
Education
Traces of a Life
Portrait of the Playwright as a Young Provincial
The Theater of the Nation
Shakespeare Comes to London
The Shakespearean Trajectory
The Fetishism of Dress
The Paradoxes of Identity
The Poet of Nature
The Play of Language
From Page to Stage: Shakespeare at Work
The Status of the Artist
Conjuring Shakespeare
General Textual Introduction
The “Authentic” Shakespeare
The Text in the Print House
What Kind of Edition Is This?
“Single-Text Editing” and the Treatment of Error
Shakespeare and the Multiplication of Meaning
Genre Introductions
Shakespearean Comedy
Selected Bibliography
Shakespearean History
Selected Bibliography
Shakespearean Tragedy
Selected Bibliography
Shakespearean Romance
Selected Bibliography
The Theater of Shakespeare’s Time
History
Playhouses
Companies and Repertories
Why Shakespeare’s Company Was Different
At Court
The Regulation of Playing and Its Failures
Casting
Staging and Its Meanings
THE TWO GENTLEMEN OF VERONA
Introduction
Selected Bibliography
Films
Textual Introduction
Textual Bibliography
Performance Note
The Two Gentlemen of Verona
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Act 3
3.1
3.2
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
5.4
Performance Comments
Textual Comments
Textual Variants
THE SECOND PART OF HENRY THE SIXTH
Introduction
Selected Bibliography
Film
Textual Introduction
Textual Bibliography
Performance Note
F: The Second Part of Henry the Sixth, with the Death of the Good Duke Humphrey
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
Act 5
5.1
5.2
5.3
Textual Comments
Textual Variants
Q: The First Part of the Contention betwixt the two Famous Houses of York and Lancaster, with the Death of the good Duke Humphrey
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
Act 5
5.1
5.2
5.3
Textual Comments
Textual Variants
THE THIRD PART OF HENRY THE SIXTH
Introduction
Selected Bibliography
Film
Textual Introduction
Textual Bibliography
Performance Note
F: The Third Part of Henry the Sixth
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
2.5
2.6
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
5.7
Textual Comments
Textual Variants
O: The True Tragedy of Richard Duke of York and the Death of Good King Henry the Sixth
The Persons of the Play
Scenes 1-5
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Scenes 6-10
Scene 6
Scene 7
Scene 8
Scene 9
Scene 10
Scenes 11-15
Scene 11
Scene 12
Scene 13
Scene 14
Scene 15
Scenes 16-20
Scene 16
Scene 17
Scene 18
Scene 19
Scene 20
Scenes 21-25
Scene 21
Scene 22
Scene 23
Scene 24
Scene 25
Scenes 26-27
Scene 26
Scene 27
Textual Comments
Textual Variants
THE TAMING OF THE SHREW
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Taming of the Shrew
The Persons of the Play
Induction
Induction 1
Induction 2
Act 1
1.1
1.2
Act 2
2.1
Act 3
3.1
3.2
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
Act 5
5.1
5.2
Performance Comments
Textual Comments
Textual Variants
THE FIRST PART OF HENRY THE SIXTH
Introduction
Selected Bibliography
Film
Textual Introduction
Textual Bibliography
Performance Note
The First Part of Henry the Sixth
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
1.6
1.7
Act 2
2.1
2.2
2.3
2.4
2.5
Act 3
3.1
3.2
3.3
3.4
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
Performance Comment
Textual Comments
Textual Variants
TITUS ANDRONICUS
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
Q: The Most Lamentable Roman Tragedy of Titus Andronicus
The Persons of the Play
Act 1
1.1
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
Performance Comment
Textual Comments
Textual Variants
F: The Lamentable Tragedy of Titus Andronicus
The Persons of the Play
Act 1
1.1
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
Performance Comment
Textual Comments
Textual Variants
RICHARD THE THIRD
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
Q: The Tragedy of King Richard the Third
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
4.4
4.5
Act 5
5.1
5.2
5.3
5.4
5.5
Performance Comments
Textual Comments
Textual Variants
F: The Tragedy of King Richard the Third
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
4.4
4.5
Act 5
5.1
5.2
5.3
5.4
5.5
Performance Comments
Textual Comments
Textual Variants
EDWARD THE THIRD
Introduction
Selected Bibliography
Textual Introduction
Performance Note
The Reign of King Edward the Third
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
Act 5
5.1
Textual Comments
Textual Variants
VENUS AND ADONIS
Introduction
Selected Bibliography
Textual Introduction
Textual Bibliography
Venus and Adonis
Dedication
Lines 1�“99
Lines 100�“199
Lines 200�“299
Lines 300�“399
Lines 400�“499
Lines 500�“599
Lines 600�“699
Lines 700�“799
Lines 800�“899
Lines 900�“999
Lines 1000�“1099
Lines 1100�“1194
Textual Comments
Textual Variants
THE RAPE OF LUCRECE
Introduction
Selected Bibliography
Textual Introduction
The Rape of Lucrece
Dedication
The Argument
Lines 1�“99
Lines 100�“199
Lines 200�“299
Lines 300�“399
Lines 400�“499
Lines 500�“599
Lines 600�“699
Lines 700�“799
Lines 800�“899
Lines 900�“999
Lines 1000�“1099
Lines 1100�“1199
Lines 1200�“1299
Lines 1300�“1399
Lines 1400�“1499
Lines 1500�“1599
Lines 1600�“1699
Lines 1700�“1799
Lines 1800�“1855
Textual Comments
Textual Variants
THE COMEDY OF ERRORS
Introduction
Selected Bibliography
Film
Textual Introduction
Performance Note
The Comedy of Errors
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
2.2
Act 3
3.1
3.2
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
Textual Comments
Textual Variants
LOVE’S LABOR’S LOST
Introduction
Selected Bibliography
Textual Introduction
Textual Bibliography
Performance Note
F: Love’s Labor’s Lost
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
Act 3
3.1
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
Performance Comment
Textual Comments
Textual Variants
Q: A Pleasant Conceited Comedy called Love’s Labor’s Lost
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
Act 3
3.1
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
Performance Comment
Textual Comments
Textual Variants
THE PASSIONATE PILGRIM
Introduction
Selected Bibliography
Textual Introduction
The Passionate Pilgrim
1 (“When my love swears that she is made of truth”)
2 (“Two loves I have, of comfort and despair”)
3 (“Did not the heavenly rhetoric of thine eye”)
4 (“Sweet Cytherea, sitting by a brook”)
5 (“If love make me forsworn, how shall I swear to love?”)
6 (“Scarce had the sun dried up the dewy morn”)
7 (“Fair is my love, but not so fair as fickle”)
8 (“If music and sweet poetry agree”)
9 (“Fair was the morn, when the fair queen of love”)
10 (“Sweet rose, fair flower, untimely plucked, soon vaded”)
11 (“Venus with Adonis sitting by her”)
12 (“Crabb d age and youth cannot live together”)
13 (“Beauty is but a vain and doubtful good”)
14 (“Good night, good rest, ah, neither be my share”)
15 (“It was a lording’s daughter, the fairest one of three”)
16 (“On a day (alack the day)”)
17 (“My flocks feed not, my ewes breed not”)
18 (“Whenas thine eye hath chose the dame”)
19 (“Live with me and be my love”)
20 (“As it fell upon a day”)
Textual Comments
Textual Variants
RICHARD THE SECOND
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
F: The Life and Death of King Richard the Second
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
3.4
Act 4
4.1
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
Performance Comments
Textual Comments
Textual Variants
Q: The Tragedy of King Richard the Second
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
3.4
Act 4
4.1
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
Performance Comments
Textual Comments
Textual Variants
ROMEO AND JULIET
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
Q2: The Most Lamentable Tragedy of Romeo and Juliet
The Persons of the Play
The Prologue
Act 1
1.1
1.2
1.3
1.4
Act 2
2.0
2.1
2.2
2.3
2.4
2.5
Act 3
3.1
3.2
3.3
3.4
3.5
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
Performance Comments
Textual Comments
Textual Variants
Q1: The Most Excellent Tragedy of Romeo and Juliet
The Persons of the Play
The Prologue
Scenes 1�“5
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Scenes 6�“10
Scene 6
Scene 7
Scene 8
Scene 9
Scene 10
Scenes 11�“15
Scene 11
Scene 12
Scene 13
Scene 14
Scene 15
Scenes 16-20
Scene 16
Scene 17
Scene 18
Scene 19
Scene 20
Performance Comments
Textual Comments
Textual Variants
A MIDSUMMER NIGHT’S DREAM
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
Q: A Midsummer Night’s Dream
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
2.2
Act 3
3.1
3.2
Act 4
4.1
4.2
Act 5
5.1
Performance Comments
Textual Comments
Textual Variants
F: A Midsummer Night’s Dream
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
2.2
Act 3
3.1
3.2
Act 4
4.1
4.2
Act 5
5.1
Performance Comments
Textual Comments
Textual Variants
KING JOHN
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Life and Death of King John
The Persons of the Play
Act 1
1.1
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
5.7
Textual Comments
Textual Variants
THE FIRST PART OF HENRY THE FOURTH
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The History of Henry the Fourth
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
5.4
5.5
Performance Comments
Textual Comments
Textual Variants
THE SECOND PART OF HENRY THE FOURTH
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
Q: The Second Part of Henry the Fourth, Continuing to His Death, and Coronation of Henry the Fifth
The Persons of the Play
Induction
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
5.5
Epilogue
Textual Comments
Textual Variants
F: The Second Part of Henry the Fourth, Containing His Death, and Coronation of King Henry the Fifth
The Persons of the Play
Induction
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
5.5
Epilogue
Textual Comments
Textual Variants
THE MERCHANT OF VENICE
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Comical History of the Merchant of Venice
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
Act 3
3.1
3.2
3.3
3.4
3.5
Act 4
4.1
4.2
Act 5
5.1
Performance Comments
Textual Comments
Textual Variants
MUCH ADO ABOUT NOTHING
Introduction
Selected Bibliography
Music and Films
Textual Introduction
Textual Bibliography
Performance Note
Much Ado About Nothing
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
3.4
3.5
Act 4
4.1
4.2
Act 5
5.1
5.2
5.3
5.4
Performance Comments
Textual Comments
Textual Variants
THE MERRY WIVES OF WINDSOR
Introduction
Selected Bibliography
Film
Textual Introduction
Textual Bibliography
Performance Note
F: The Merry Wives of Windsor
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
3.4
3.5
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
Act 5
5.1
5.2
5.3
5.4
5.5
Textual Comments
Textual Variants
Q: A Most Pleasant and Excellent Conceited Comedy of Sir John Falstaff and the Merry Wives of Windsor
The Persons of the Play
Scenes 1-5
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Scenes 6-10
Scene 6
Scene 7
Scene 8
Scene 9
Scene 10
Scenes 11-14
Scene 11
Scene 12
Scene 13
Scene 14
Scenes 15-18
Scene 15
Scene 16
Scene 17
Scene 18
Textual Comments
Textual Variants
HENRY THE FIFTH
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
F: The Life of Henry the Fifth
The Persons of the Play
Prologue
Act 1
1.1
1.2
Act 2
2.0
2.1
2.2
2.3
2.4
Act 3
3.0
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
Act 4
4.0
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
Act 5
5.0
5.1
5.2
Epilogue
Performance Comments
Textual Comments
Textual Variants
Q: The Chronicle History of Henry the Fifth, With His Battle fought at Agincourt in France. Together with Ensign Pistol
The Persons of the Play
Scenes 1�“5
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Scenes 6�“10
Scene 6
Scene 7
Scene 8
Scene 9
Scene 10
Scenes 11�“15
Scene 11
Scene 12
Scene 13
Scene 14
Scene 15
Scenes 16�“20
Scene 16
Scene 17
Scene 18
Scene 19
Scene 20
Performance Comment
Textual Comments
Textual Variants
AS YOU LIKE IT
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
As You Like It
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Act 3
3.1
3.2
3.3
3.4
3.5
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
Performance Comments
Textual Comments
Textual Variants
JULIUS CAESAR
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Tragedy of Julius Caesar
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
5.5
Performance Comments
Textual Comments
Textual Variants
HAMLET
Introduction
Selected Bibliography
Films
Textual Introduction
First Quarto
Second Quarto and Folio
Two Notes on Editorial Procedure
Performance Note
C: The Tragedy of Hamlet, Prince of Denmark
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
Performance Comments
Textual Comments
Textual Variants
Q1: 1603 Hamlet
Selected Bibliography
Q1: The Tragical History of Hamlet, Prince of Denmark
The Persons of the Play
Scenes 1�“5
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Scenes 6�“10
Scene 6
Scene 7
Scene 8
Scene 9
Scene 10
Scenes 11�“17
Scene 11
Scene 12
Scene 13
Scene 14
Scene 15
Scene 16
Scene 17
Textual Comments
Textual Variants
Q2: The Tragical History of Hamlet, Prince of Denmark
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
Performance Comments
Textual Comments
Textual Variants
F: The Tragedy of Hamlet, Prince of Denmark
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
Performance Comments
Textual Comments
Textual Variants
TWELFTH NIGHT
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
Twelfth Night, or What You Will
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
2.3
2.4
2.5
Act 3
3.1
3.2
3.3
3.4
Act 4
4.1
4.2
4.3
Act 5
5.1
Performance Comments
Textual Comments
Textual Variants
THE PHOENIX AND TURTLE
Introduction
Selected Bibliography
Textual Introduction
The Phoenix and Turtle
Textual Comments
Textual Variants
TROILUS AND CRESSIDA
Introduction
Selected Bibliography
Film
Textual Introduction
Performance Note
F: The Tragedy of Troilus and Cressida
The Persons of the Play
The Prologue
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2a
4.2b
4.3
4.4
4.5a
4.5b
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
5.10
5.11
Performance Comment
Textual Comments
Textual Variants
Q: The History of Troilus and Cressida
Prose Epistle
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
4.4
4.5
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
5.10
5.11
Performance Comment
Textual Comments
Textual Variants
OTHELLO
Introduction
Selected Bibliography
Films
Textual Introduction
Textual Bibliography
Performance Note
F: The Tragedy of Othello, the Moor of Venice
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
3.4
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
Performance Comments
Textual Comments
Textual Variants
Q: The Tragedy of Othello, the Moor of Venice
The Persons of the Play
The Stationer to the Reader
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
3.4
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
Performance Comments
Textual Comments
Textual Variants
SIR THOMAS MORE
Introduction
Selected Bibliography
Textual Introduction
Performance Note
The Book of Sir Thomas More
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
5.4
Appendices
Textual Comments
Textual Variants
MEASURE FOR MEASURE
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
Measure for Measure
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
Act 5
5.1
Performance Comments
Textual Comments
Textual Variants
THE SONNETS
Introduction
Selected Bibliography
Textual Introduction
Textual Bibliography
The Sonnets
Dedication
Sonnets 1�“50
1 (“From fairest creatures we desire increase”)
2 (“When forty winters shall besiege thy brow”)
3 (“Look in thy glass, and tell the face thou viewest”)
4 (“Unthrifty loveliness, why dost thou spend”)
5 (“Those hours that with gentle work did frame”)
6 (“Then let not winter’s ragged hand deface”)
7 (“Lo, in the orient when the gracious light”)
8 (“Music to hear, why hear’st thou music sadly?”)
9 (“Is it for fear to wet a widow’s eye”)
10 (“For shame deny that thou bear’st love to any”)
11 (“As fast as thou shalt wane, so fast thou grow’st”)
12 (“When I do count the clock that tells the time”)
13 (“Oh, that you were yourself! But, love, you are”)
14 (“Not from the stars do I my judgment pluck”)
15 (“When I consider every thing that grows”)
16 (“But wherefore do not you a mightier way”)
17 (“Who will believe my verse in time to come”)
18 (“Shall I compare thee to a summer’s day?”)
19 (“Devouring Time, blunt thou the lion’s paws”)
20 (“A woman’s face with Nature’s own hand painted”)
21 (“So is it not with me as with that muse”)
22 (“My glass shall not persuade me I am old”)
23 (“As an unperfect actor on the stage”)
24 (“Mine eye hath played the painter and hath steeled”)
25 (“Let those who are in favor with their stars”)
26 (“Lord of my love, to whom in vassalage”)
27 (“Weary with toil, I haste me to my bed”)
28 (“How can I then return in happy plight”)
29 (“When in disgrace with fortune and men’s eyes”)
30 (“When to the sessions of sweet silent thought”)
31 (“Thy bosom is endear d with all hearts”)
32 (“If thou survive my well-contented day”)
33 (“Full many a glorious morning have I seen”)
34 (“Why didst thou promise such a beauteous day”)
35 (“No more be grieved at that which thou hast done”)
36 (“Let me confess that we two must be twain”)
37 (“As a decrepit father takes delight”)
38 (“How can my muse want subject to invent”)
39 (“Oh, how thy worth with manners may I sing”)
40 (“Take all my loves, my love, yea, take them all!”)
41 (“Those pretty wrongs that liberty commits”)
42 (“That thou hast her it is not all my grief”)
43 (“When most I wink, then do mine eyes best see”)
44 (“If the dull substance of my flesh were thought”)
45 (“The other two, slight air and purging fire”)
46 (“Mine eye and heart are at a mortal war”)
47 (“Betwixt mine eye and heart a league is took”)
48 (“How careful was I when I took my way”)
49 (“Against that time (if ever that time come)”
50 (“How heavy do I journey on the way”)
Sonnets 51�“100
51 (“Thus can my love excuse the slow offense”)
52 (“So am I as the rich whose bless d key”)
53 (“What is your substance, whereof are you made”)
54 (“Oh, how much more doth beauty beauteous seem”)
55 (“Not marble nor the gilded monuments”)
56 (“Sweet love, renew thy force. Be it not said”)
57 (“Being your slave, what should I do but tend”)
58 (“That god forbid that made me first your slave”)
59 (“If there be nothing new, but that which is”)
60 (“Like as the waves make towards the pebbled shore”)
61 (“Is it thy will thy image should keep open”)
62 (“Sin of self-love possesseth all mine eye”)
63 (“Against my love shall be as I am now”)
64 (“When I have seen by Time’s fell hand defaced”)
65 (“Since brass, nor stone, nor earth, nor boundless sea”)
66 (“Tired with all these, for restful death I cry”)
67 (“Ah, wherefore with infection should he live”)
68 (“Thus is his cheek the map of days outworn”)
69 (“Those parts of thee that the world’s eye doth view”)
70 (“That thou art blamed shall not be thy defect”)
71 (“No longer mourn for me when I am dead”)
72 (“Oh, lest the world should task you to recite”)
73 (“That time of year thou mayst in me behold”)
74 (“But be contented when that fell arrest”)
75 (“So are you to my thoughts as food to life”)
76 (“Why is my verse so barren of new pride”)
77 (“Thy glass will show thee how thy beauties wear”)
78 (“So oft have I invoked thee for my muse”)
79 (“Whilst I alone did call upon thy aid”)
80 (“Oh, how I faint when I of you do write”)
81 (“Or I shall live your epitaph to make”)
82 (“I grant thou wert not married to my muse”)
83 (“I never saw that you did painting need”)
84 (“Who is it that says most which can say more”)
85 (“My tongue-tied muse in manners holds her still”)
86 (“Was it the proud full sail of his great verse”)
87 (“Farewell! Thou art too dear for my possessing”)
88 (“When thou shalt be disposed to set me light”)
89 (“Say that thou didst forsake me for some fault”)
90 (“Then hate me when thou wilt�”if ever, now!”)
91 (“Some glory in their birth, some in their skill”)
92 (“But do thy worst to steal thyself away”)
93 (“So shall I live supposing thou art true”)
94 (“They that have power to hurt and will do none”)
95 (“How sweet and lovely dost thou make the shame”)
96 (“Some say thy fault is youth, some wantonness”)
97 (“How like a winter hath my absence been”)
98 (“From you have I been absent in the spring”)
99 (“The forward violet thus did I chide”)
100 (“Where art thou, Muse, that thou forgett’st so long”)
Sonnets 101�“154
101 (“O truant Muse, what shall be thy amends”)
102 (“My love is strengthened though more weak in seeming”)
103 (“Alack, what poverty my muse brings forth”)
104 (“To me, fair friend, you never can be old”)
105 (“Let not my love be called idolatry”)
106 (“When in the chronicle of wasted time”)
107 (“Not mine own fears, nor the prophetic soul”)
108 (“What’s in the brain that ink may character”)
109 (“Oh, never say that I was false of heart”)
110 (“Alas, ’tis true, I have gone here and there”)
111 (“Oh, for my sake do you with Fortune chide”)
112 (“Your love and pity doth th’impression fill”)
113 (“Since I left you, mine eye is in my mind”)
114 (“Or whether doth my mind, being crowned with you”)
115 (“Those lines that I before have writ do lie”)
116 (“Let me not to the marriage of true minds”)
117 (“Accuse me thus: that I have scanted all”)
118 (“Like as to make our appetites more keen”)
119 (“What potions have I drunk of siren tears”)
120 (“That you were once unkind befriends me now”)
121 (“’Tis better to be vile than vile esteemed”)
122 (“Thy gift, thy tables, are within my brain”)
123 (“No! Time, thou shalt not boast that I do change”)
124 (“If my dear love were but the child of state”)
125 (“Were’t aught to me I bore the canopy”)
126 (“O thou, my lovely boy, who in thy power”)
127 (“In the old age black was not counted fair”)
128 (“How oft, when thou, my music, music play’st”)
129 (“Th’expense of spirit in a waste of shame”)
130 (“My mistress’ eyes are nothing like the sun”)
131 (“Thou art as tyrannous, so as thou art”)
132 (“Thine eyes I love, and they, as pitying me�””)
133 (“Beshrew that heart that makes my heart to groan”)
134 (“So now I have confessed that he is thine”)
135 (“Whoever hath her wish, thou hast thy Will”)
136 (“If thy soul check thee that I come so near”)
137 (“Thou blind fool love, what dost thou to mine eyes”)
138 (“When my love swears that she is made of truth”)
139 (“Oh, call not me to justify the wrong”)
140 (“Be wise as thou art cruel; do not press”)
141 (“In faith, I do not love thee with mine eyes”)
142 (“Love is my sin, and thy dear virtue hate”)
143 (“Lo, as a careful housewife runs to catch”)
144 (“Two loves I have, of comfort and despair”)
145 (“Those lips that love’s own hand did make”)
146 (“Poor soul, the center of my sinful earth”)
147 (“My love is as a fever, longing still”)
148 (“Oh, me! What eyes hath love put in my head”)
149 (“Canst thou, O cruel, say I love thee not”)
150 (“Oh, from what power hast thou this powerful might”)
151 (“Love is too young to know what conscience is”)
152 (“In loving thee thou know’st I am forsworn”)
153 (“Cupid laid by his brand and fell asleep”)
154 (“The little love-god, lying once asleep”)
Textual Comments
Textual Variants
A LOVER’S COMPLAINT
Introduction
Selected Bibliography
Textual Introduction
Textual Bibliography
A Lover’s Complaint
Lines 1�“99
Lines 100�“199
Lines 200�“299
Lines 300�“329
Textual Variants
KING LEAR
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
C: King Lear Folio with Quarto Additions
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
Act 5
5.1
5.2
5.3
Performance Comments
Textual Comments
Textual Variants
Q/F: The History of King Lear Quarto and Folio Comparison
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3 (Q)
4.4 (Q)/4.3 (F)
4.5 (Q)/4.4 (F)
4.6 (Q)/4.5 (F)
4.7 (Q)/4.6 (F)
Act 5
5.1
5.2
5.3
Q: The History of King Lear
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
Act 5
5.1
5.2
5.3
Performance Comments
Textual Comments
Textual Variants
F: The Tragedy of King Lear
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
Act 5
5.1
5.2
5.3
Performance Comments
Textual Comments
Textual Variants
TIMON OF ATHENS
Introduction
Selected Bibliography
Film
Textual Introduction
Performance Note
The Life of Timon of Athens
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
5.5
Textual Comments
Textual Variants
ALL’S WELL THAT ENDS WELL
Introduction
Selected Bibliography
Music and Film
Textual Introduction
Textual Bibliography
Performance Note
All’s Well That Ends Well
The Persons of the Play
Act 1
1.1
1.2
1.3
Act 2
2.1
2.2
2.3
2.4
2.5
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
4.4
4.5
Act 5
5.1
5.2
5.3
Performance Comments
Textual Comments
Textual Variants
MACBETH
Introduction
Selected Bibliography
Films
Textual Introduction
Textual Bibliography
Performance Note
The Tragedy of Macbeth
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
1.6
1.7
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
5.7
Performance Comments
Textual Comments
Textual Variants
ANTONY AND CLEOPATRA
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Tragedy of Antony and Cleopatra
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
3.10
3.11
3.12
3.13
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
4.12
4.13
4.14
4.15
Act 5
5.1
5.2
Performance Comments
Textual Comments
Textual Variants
PERICLES
Introduction
Selected Bibliography
Film
Textual Introduction
Textual Bibliography
Performance Note
The Play of Pericles, Prince of Tyre
The Persons of the Play
Act 1
1.0
1.1
1.2
1.3
1.4
Act 2
2.0
2.1
2.2
2.3
2.4
2.5
Act 3
3.0
3.1
3.2
3.3
3.4
Act 4
4.0
4.1
4.2
4.3
4.4
4.5
4.6
Act 5
5.0
5.1
5.2
5.3
Epilogue
Performance Comment
Textual Comments
Textual Variants
CORIOLANUS
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Tragedy of Coriolanus
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
1.10
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
Act 5
5.1
5.2
5.3
5.4
5.5
5.6
Performance Comments
Textual Comments
Textual Variants
CYMBELINE
Introduction
Selected Bibliography
Film
Textual Introduction
Textual Bibliography
Performance Note
The Tragedy of Cymbeline
The Persons of the Play
Act 1
1.1
1.2
1.3
1.4
1.5
1.6
Act 2
2.1
2.2
2.3
2.4
2.5
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
5.4
5.5
Performance Comments
Textual Comments
Textual Variants
THE WINTER’S TALE
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Winter’s Tale
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
2.2
2.3
Act 3
3.1
3.2
3.3
Act 4
4.1
4.2
4.3
4.4
Act 5
5.1
5.2
5.3
Performance Comments
Textual Comments
Textual Variants
THE TEMPEST
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Tempest
The Persons of the Play
Act 1
1.1
1.2
Act 2
2.1
2.2
Act 3
3.1
3.2
3.3
Act 4
4.1
Act 5
5.1
Epilogue
Performance Comments
Textual Comments
Textual Variants
CARDENIO: A CONCISE ACCOUNT
Introduction
HENRY THE EIGHTH
Introduction
Selected Bibliography
Films
Textual Introduction
Performance Note
The Famous History of the Life of King Henry the Eighth
The Persons of the Play
Act 1
Prologue
1.1
1.2
1.3
1.4
Act 2
2.1
2.2
2.3
2.4
Act 3
3.1
3.2
Act 4
4.1
4.2
Act 5
5.1
5.2
5.3
5.4
Epilogue
Textual Comments
Textual Variants
THE TWO NOBLE KINSMEN
Introduction
Selected Bibliography
Textual Introduction
Performance Note
The Two Noble Kinsmen
The Persons of the Play
Prologue
Act 1
1.1
1.2
1.3
1.4
1.5
Act 2
2.1
2.2
2.3
2.4
2.5
2.6
Act 3
3.1
3.2
3.3
3.4
3.5
3.6
Act 4
4.1
4.2
4.3
Act 5
5.1
5.2
5.3
5.4
Epilogue
Textual Comments
Textual Variants
APPENDICES
ATTRIBUTED POEMS
Introduction
Selected Bibliography
Textual Introduction
Attributed Poems
1 A song, “Shall I die?”
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
[9]
2 Upon a Pair of Gloves That Master Sent to His Mistress
3 Verses on the Stanley Tomb at Tong
[East End]
[West End]
4 On Ben Jonson
5 An Epitaph on Elias James
6 An Extemporary Epitaph on John Combe, a Noted Usurer
7 Another Epitaph on John Combe
8 Upon the King
9 Epitaph on Himself
Textual Comment
Textual Variants
MAPS
Early Modern Map Culture
Ireland, Scotland, Wales, England, and Western France
London
The Mediterranean World
The Chamberlain's Men and King's Men on Tour
Map of the Holy Land, from the Bishops' Bible (1568)
Printed Map of London
Map of the ''Kingdome of Great Britain and Ireland''
DOCUMENTS
Shakespeare and His Works
Robert Greene on Shakespeare (1592)
Thomas Nashe on 1 Henry VI (1592)
Henry Chettle on Greene and Shakespeare (1592)
Gesta Grayorum on The Comedy of Errors (December 28, 1594)
Jacques Petit on Titus Andronicus (January 1, 1596)
Francis Meres on Shakespeare (1598)
List of Actors for Ben Jonson's Every Man in His Humor (1598)
Parnassus Plays on Shakespeare (1598-1601)
Epilogue to the Queen, Possibly by Shakespeare (1599)
John Weever on Shakespeare (1599)
Thomas Platter on Julius Caesar (September 21, 1599)
Gabriel Harvey on Hamlet, Venus and Adonis, and The Rape of Lucrece (1598-1607)
Augustine Phillips, Francis Bacon, et al., on Richard II (1601)
John Manningham on Twelfth Night and Richard III (1602)
Letters Patent Formalizing the Adoption of the Lord Chamberlain's Men as the King's Men (May 19, 1603)
Master of the Wardrobe's Account (March 1604)
Francis Beaumont on Shakespeare (1606?)
William Harrison on King Lear (?) and Pericles (ca. February 2, 1610)
Henry Jackson on Othello (September 1610)
John Davies of Hereford on Shakespeare (1610)
Simon Forman on Macbeth, Cymbeline, and The Winter's Tale (1611)
Shakespeare's Deposition in the Belott-Mountjoy Suit (May 11, 1612)
Shakespeare Paid for Designing an Impresa (March 1613)
Chamber Account of Performances by the King's Men (May 1613)
Sir Henry Wotton on Henry VIII and the Burning of the Globe (1613)
Ballad on the Burning of the Globe (1613)
Ben Jonson on The Tempest (and Titus Andronicus) (1614)
Shakespeare's Will (March 25, 1616)
William Basse's Elegy for Shakespeare (1616-23)
Nicholas Richardson on Romeo and Juliet (1620)
Front Matter from the First Folio of Shakespeare's Plays (1623)
Ben Jonson on Shakespeare's Portrait
Title Page
John Heminges and Henry Condell's Epistle to William and Philip Herbert
Heminges and Condell's Epistle to the Readers
Ben Jonson on Shakespeare
Hugh Holland on Shakespeare
The ''Catalogue'' of Plays
Leonard Digges on Shakespeare
James Mabbe (?) on Shakespeare
List of Actors
First Page of The Tempest
Annotated text of Ben Jonson on Shakespeare
Leonard Digges on Shakespeare (1623-35)
Richard James on Falstaff (ca. 1625)
John Milton on Shakespeare (1630)
Ben Jonson on Shakespeare (1623-37)
Thomas Heywood on Shakespeare (1635)
Margaret Cavendish on Shakespeare (1664)
John Aubrey on Shakespeare (1681)
The Theater Scene
Edmund Tilney's Commission as Master of the Revels (December 24, 1581)
The ''Plot'' for The Second Part of the Seven Deadly Sins (1590-98)
The ''Part'' for Orlando in Orlando Furioso (ca. 1592)
A Letter from Edward Alleyn to His Wife (August 1, 1593?)
Petition to the Privy Council about the Blackfriars Playhouse (November 1596?)
The Isle of Dogs Affair (1597)
Financial Records from Henslowe's Diary (1598-99)
Inventories of the Lord Admiral's Men's Properties and Costumes (1598-99)
Giles Allen on the Construction of the Globe (ca. December 28, 1598)
Contract for the Building of the Fortune Theater (1600)
Chamber Accounts Relating to the King's Men (1603-04)
John Chamberlain on Gowrie (December 1604)
An Act to Restrain Abuses of Players (May 27, 1606)
Elegy on Richard Burbage (1619?)
TIMELINE
GLOSSARY
Stage Terms
Textual Terms
ESSENTIAL REFERENCE BOOKS
FULL BIBLIOGRAPHY
Guides and Companions to Shakespeare Studies
Shakespeare's World
Social, Political, and Economic History
Intellectual and Religious History
Cultural History and Early Modern Cultural Studies
Shakespeare's Generic, Literary, and Theatrical Contexts
The Playing Field: Theaters, Actors, Patrons, and the State
Shakespeare's Life
Critical Approaches
Classics of Shakespeare Criticism
General Studies
Language and Style
Psychoanalytic Criticism
Feminism, Gender Studies, and Queer Studies
Historical Approaches: Marxism, Materialism, New Historicism, and Cultural Materialism
Postcolonial Criticism, Race, and Ethnicity
Ecology, Post-Humanism, and New Approaches to the Political
Shakespeare's Religions: Protestantism, Catholicism, and Political Theology
Other Philosophical and Theoretical Approaches
Textual Criticism and Bibliography
Shakespeare and Performance
Shakespeare on Film, Television, and the Web
World Shakespeares
INDEX
GENEALOGIES
A Shakespearean Genealogy
The Kings and Queens of England, 1377-1625
The House of Lancaster
The House of York
Tudors (1485-1603) and Stuarts (1603-1714)
COMPARATIVE SCENES AND POEMS
Introduction
Othello 4.3 (Quarto and Folio)
Richard III 4.2 (Quarto and Folio)
Henry V opening (Folio and Quarto)
Romeo and Juliet 2.1 (Second Quarto and First Quarto)
A Midsummer Night’s Dream 5.1 (Quarto and Folio)
Hamlet 3.1 (Second Quarto and First Quarto)
Sonnet 138 (with Passionate Pilgrim 1)
Sonnet 144 (with Passionate Pilgrim 2)
ILLUSTRATION ACKNOWLEDGMENTS