The first in a series on Shakespeare's original texts, including facsimile pages, this version of "Hamlet" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. This text has been rejected by scholars as a "bad Quarto" - corrupt and pirated text printed without the permission of the playwright or his company. Nonetheless, it was the first version of the play to be published and it has been produced in the modern theatre with success. This new edition of that Quarto seeks to acknowledge the play's distinctive poetic and dramatic qualities, instead of comparing them unfavourably to one of the other versions.

One of a series on Shakespeare's original texts, including facsimile pages, this version of "Henry V" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. The original text - or First Quarto - of "Henry V", published in 1600, is missing the Chorus, a dramatic device which recent criticism has used to suggest a strikingly modern view of history and politics. These and other significant changes mean that critics can no longer assume that the play presents a distanced, ironic perspective on its own political and military action. If Elizabethan audiences saw in performance something closer to the First Folio than the 1623 Folio text, then their dramatic engagement with history was of a kind very different from that of the play's 20th-century interpreters. This new edition makes available the original text of "Henry V", in all its theatrical simplicity and historical difference.

This new examination of Shakespeare’s four Roman tragedies (Julius Caesar, Titus Andronicus, Coriolanus and Antony and Cleopatra) revisits Shakespeare’s dramatic recreations of ancient Rome in the light of considerations of place:

Alongside this analysis the book explores contemporary critical debates and the uses of place and space in selected modern adaptations – the Taviani brothers’ Italian film Caesar Must Die, Julie Taylor’s film Titus, John Osborne’s play A Place Calling Itself Rome and Ahmed Shawqi’s Arabic Death of Cleopatra.

The book provides a descriptive, palimpsestic map of the places within which Shakespeare’s Roman plays operate, tracing the contours of Rome’s Republic and Empire, overlaid with the Europe of Shakespeare’s day, in which a Romanised London looked with fascination towards the East, towards Rome and Alexandria. Equipped with such a map we can attempt to do what Shakespeare did: to recreate ancient Rome in conjunction and rapprochement with its early modern and modern counterparts.

This new examination of Shakespeare’s four Roman tragedies (Julius Caesar, Titus Andronicus, Coriolanus and Antony and Cleopatra) revisits Shakespeare’s dramatic recreations of ancient Rome in the light of considerations of place:

Alongside this analysis the book explores contemporary critical debates and the uses of place and space in selected modern adaptations – the Taviani brothers’ Italian film Caesar Must Die, Julie Taylor’s film Titus, John Osborne’s play A Place Calling Itself Rome and Ahmed Shawqi’s Arabic Death of Cleopatra.

The book provides a descriptive, palimpsestic map of the places within which Shakespeare’s Roman plays operate, tracing the contours of Rome’s Republic and Empire, overlaid with the Europe of Shakespeare’s day, in which a Romanised London looked with fascination towards the East, towards Rome and Alexandria. Equipped with such a map we can attempt to do what Shakespeare did: to recreate ancient Rome in conjunction and rapprochement with its early modern and modern counterparts.

First Published in 1992. This series puts into circulation single annotated editions of early modern play-texts whose literary and theatrical histories have been overshadowed by editorial practices dominant since the eighteenth century. The text contained in this volume is not what we know as Shakespeare''s The Taming of the Shrew, modern editions of which play are all derived from the text printed in the 1623 First Folio edition of Shakespeare''s works. The present text is an edition of the play published in 1594 under the title The Taming of a Shrew, which has always been denied the authorising signature of ''Shakespeare'', and regarded as an earlier version by another dramatist or as a pirated and corrupt ''memorial reconstruction'' of Shakespeare''s The Taming of the Shrew.

First Published in 1992. This series puts into circulation single annotated editions of early modern play-texts whose literary and theatrical histories have been overshadowed by editorial practices dominant since the eighteenth century. The text contained in this volume is not what we know as Shakespeare''s The Taming of the Shrew, modern editions of which play are all derived from the text printed in the 1623 First Folio edition of Shakespeare''s works. The present text is an edition of the play published in 1594 under the title The Taming of a Shrew, which has always been denied the authorising signature of ''Shakespeare'', and regarded as an earlier version by another dramatist or as a pirated and corrupt ''memorial reconstruction'' of Shakespeare''s The Taming of the Shrew.

One of a series on Shakespeare''s original texts, including facsimile pages, this version of "Henry V" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. The original text - or First Quarto - of "Henry V", published in 1600, is missing the Chorus, a dramatic device which recent criticism has used to suggest a strikingly modern view of history and politics. These and other significant changes mean that critics can no longer assume that the play presents a distanced, ironic perspective on its own political and military action. If Elizabethan audiences saw in performance something closer to the First Folio than the 1623 Folio text, then their dramatic engagement with history was of a kind very different from that of the play''s 20th-century interpreters. This new edition makes available the original text of "Henry V", in all its theatrical simplicity and historical difference.

One of a series on Shakespeare''s original texts, including facsimile pages, this version of "Henry V" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. The original text - or First Quarto - of "Henry V", published in 1600, is missing the Chorus, a dramatic device which recent criticism has used to suggest a strikingly modern view of history and politics. These and other significant changes mean that critics can no longer assume that the play presents a distanced, ironic perspective on its own political and military action. If Elizabethan audiences saw in performance something closer to the First Folio than the 1623 Folio text, then their dramatic engagement with history was of a kind very different from that of the play''s 20th-century interpreters. This new edition makes available the original text of "Henry V", in all its theatrical simplicity and historical difference.

The first in a series on Shakespeare''s original texts, including facsimile pages, this version of "Hamlet" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. This text has been rejected by scholars as a "bad Quarto" - corrupt and pirated text printed without the permission of the playwright or his company. Nonetheless, it was the first version of the play to be published and it has been produced in the modern theatre with success. This new edition of that Quarto seeks to acknowledge the play''s distinctive poetic and dramatic qualities, instead of comparing them unfavourably to one of the other versions.

The first in a series on Shakespeare''s original texts, including facsimile pages, this version of "Hamlet" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. This text has been rejected by scholars as a "bad Quarto" - corrupt and pirated text printed without the permission of the playwright or his company. Nonetheless, it was the first version of the play to be published and it has been produced in the modern theatre with success. This new edition of that Quarto seeks to acknowledge the play''s distinctive poetic and dramatic qualities, instead of comparing them unfavourably to one of the other versions.

The first in a series on Shakespeare's original texts, including facsimile pages, this version of "Hamlet" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. This text has been rejected by scholars as a "bad Quarto" - corrupt and pirated text printed without the permission of the playwright or his company. Nonetheless, it was the first version of the play to be published and it has been produced in the modern theatre with success. This new edition of that Quarto seeks to acknowledge the play's distinctive poetic and dramatic qualities, instead of comparing them unfavourably to one of the other versions.

One of a series on Shakespeare's original texts, including facsimile pages, this version of "Henry V" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. The original text - or First Quarto - of "Henry V", published in 1600, is missing the Chorus, a dramatic device which recent criticism has used to suggest a strikingly modern view of history and politics. These and other significant changes mean that critics can no longer assume that the play presents a distanced, ironic perspective on its own political and military action. If Elizabethan audiences saw in performance something closer to the First Folio than the 1623 Folio text, then their dramatic engagement with history was of a kind very different from that of the play's 20th-century interpreters. This new edition makes available the original text of "Henry V", in all its theatrical simplicity and historical difference.

This new examination of Shakespeare’s four Roman tragedies (Julius Caesar, Titus Andronicus, Coriolanus and Antony and Cleopatra) revisits Shakespeare’s dramatic recreations of ancient Rome in the light of considerations of place:

Alongside this analysis the book explores contemporary critical debates and the uses of place and space in selected modern adaptations – the Taviani brothers’ Italian film Caesar Must Die, Julie Taylor’s film Titus, John Osborne’s play A Place Calling Itself Rome and Ahmed Shawqi’s Arabic Death of Cleopatra.

The book provides a descriptive, palimpsestic map of the places within which Shakespeare’s Roman plays operate, tracing the contours of Rome’s Republic and Empire, overlaid with the Europe of Shakespeare’s day, in which a Romanised London looked with fascination towards the East, towards Rome and Alexandria. Equipped with such a map we can attempt to do what Shakespeare did: to recreate ancient Rome in conjunction and rapprochement with its early modern and modern counterparts.

This new examination of Shakespeare’s four Roman tragedies (Julius Caesar, Titus Andronicus, Coriolanus and Antony and Cleopatra) revisits Shakespeare’s dramatic recreations of ancient Rome in the light of considerations of place:

Alongside this analysis the book explores contemporary critical debates and the uses of place and space in selected modern adaptations – the Taviani brothers’ Italian film Caesar Must Die, Julie Taylor’s film Titus, John Osborne’s play A Place Calling Itself Rome and Ahmed Shawqi’s Arabic Death of Cleopatra.

The book provides a descriptive, palimpsestic map of the places within which Shakespeare’s Roman plays operate, tracing the contours of Rome’s Republic and Empire, overlaid with the Europe of Shakespeare’s day, in which a Romanised London looked with fascination towards the East, towards Rome and Alexandria. Equipped with such a map we can attempt to do what Shakespeare did: to recreate ancient Rome in conjunction and rapprochement with its early modern and modern counterparts.

First Published in 1992. This series puts into circulation single annotated editions of early modern play-texts whose literary and theatrical histories have been overshadowed by editorial practices dominant since the eighteenth century. The text contained in this volume is not what we know as Shakespeare''s The Taming of the Shrew, modern editions of which play are all derived from the text printed in the 1623 First Folio edition of Shakespeare''s works. The present text is an edition of the play published in 1594 under the title The Taming of a Shrew, which has always been denied the authorising signature of ''Shakespeare'', and regarded as an earlier version by another dramatist or as a pirated and corrupt ''memorial reconstruction'' of Shakespeare''s The Taming of the Shrew.

First Published in 1992. This series puts into circulation single annotated editions of early modern play-texts whose literary and theatrical histories have been overshadowed by editorial practices dominant since the eighteenth century. The text contained in this volume is not what we know as Shakespeare''s The Taming of the Shrew, modern editions of which play are all derived from the text printed in the 1623 First Folio edition of Shakespeare''s works. The present text is an edition of the play published in 1594 under the title The Taming of a Shrew, which has always been denied the authorising signature of ''Shakespeare'', and regarded as an earlier version by another dramatist or as a pirated and corrupt ''memorial reconstruction'' of Shakespeare''s The Taming of the Shrew.

One of a series on Shakespeare''s original texts, including facsimile pages, this version of "Henry V" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. The original text - or First Quarto - of "Henry V", published in 1600, is missing the Chorus, a dramatic device which recent criticism has used to suggest a strikingly modern view of history and politics. These and other significant changes mean that critics can no longer assume that the play presents a distanced, ironic perspective on its own political and military action. If Elizabethan audiences saw in performance something closer to the First Folio than the 1623 Folio text, then their dramatic engagement with history was of a kind very different from that of the play''s 20th-century interpreters. This new edition makes available the original text of "Henry V", in all its theatrical simplicity and historical difference.

One of a series on Shakespeare''s original texts, including facsimile pages, this version of "Henry V" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. The original text - or First Quarto - of "Henry V", published in 1600, is missing the Chorus, a dramatic device which recent criticism has used to suggest a strikingly modern view of history and politics. These and other significant changes mean that critics can no longer assume that the play presents a distanced, ironic perspective on its own political and military action. If Elizabethan audiences saw in performance something closer to the First Folio than the 1623 Folio text, then their dramatic engagement with history was of a kind very different from that of the play''s 20th-century interpreters. This new edition makes available the original text of "Henry V", in all its theatrical simplicity and historical difference.

The first in a series on Shakespeare''s original texts, including facsimile pages, this version of "Hamlet" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. This text has been rejected by scholars as a "bad Quarto" - corrupt and pirated text printed without the permission of the playwright or his company. Nonetheless, it was the first version of the play to be published and it has been produced in the modern theatre with success. This new edition of that Quarto seeks to acknowledge the play''s distinctive poetic and dramatic qualities, instead of comparing them unfavourably to one of the other versions.

The first in a series on Shakespeare''s original texts, including facsimile pages, this version of "Hamlet" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. This text has been rejected by scholars as a "bad Quarto" - corrupt and pirated text printed without the permission of the playwright or his company. Nonetheless, it was the first version of the play to be published and it has been produced in the modern theatre with success. This new edition of that Quarto seeks to acknowledge the play''s distinctive poetic and dramatic qualities, instead of comparing them unfavourably to one of the other versions.