Jay L. Halio – författare

What was Shakespeare's attitude to Semitism? The Introduction to this edition of The Merchant of Venice opens by addressing this vital issue raised by the play, and goes on to study the sources, background, and date, includuing a discussion of Sigmund Freud's essay on 'The Three Caskets'. Professor Halio interprets the play's contradictions, inconsistencies, and complementarities, especially as these relate to the overarching theme of bonds and bondage. A survey of the play's stage history ranges from discussions of its early staging to important twentieth-century productions and performances outside England, particularly in Israel.The text, based on a fresh examination of the early editions, is presented in modernized spelling and punctuation. Unfailingly lucid and helpful, this is an ideal edition for students, actors, and the general reader. 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.

The Oxford Shakespeare offers authoritative texts from leading scholars in editions designed to interpret and illuminate the plays for modern readers. 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.

The Oxford Shakespeare offers authoritative texts from leading scholars in editions designed to interpret and illuminate the plays for modern readers. 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.

This is the first fully annotated and comprehensive modern-spelling edition of King Henry VIII - known in its early performances as All is True - for over ten years. It makes full use of current scholarship on the dating, authorship, printing, and sources of the play, as well as critical interpretations, and includes an up-to-date survey of the play in performance. It is the first edition to make frequent use of Cavendish's life of Cardinal Wolsey, which seems likely to have influenced certain aspects of the play, as well as the other recognized sources in Holinshed, Hall, and Foxe. On authorship, the editor concludes that Shakespeare and his younger colleague John Fletcher worked on the script together but that Shakespeare was probably the guiding spirit, as well as the principal author of several major scenes. That they worked closely together is demonstrated through the consistency of style and overall dramatic structure and theme. The differences between them are by comparison minor and have more to do with spelling, punctuation, and versification than with conceptions of character or other more significant features of the play. The distinctions are thoroughly discussed in the General Introduction. A fully detailed commentary and a selective collation of major variant readings appear immediately beneath the text. Special attention has been given to the frequent allusion to scripture and proverb lore. An index to all words glossed and authorities cited appears at the end of the volume.

This edition of King Lear is based on the first (1608) quarto and represents a significantly different version from that published in the Folio of 1623, which forms the basis of the standard New Cambridge Shakespeare edition. Most scholars now believe that the quarto derives from what was probably Shakespeare's own autograph draft of the play, whereas the Folio derives from a late, revised copy used as the prompt-book. Each has numerous unique passages and hundreds of variant readings, creating differences which affect the structure, characterisation and overall impact of the play. This volume contains a substantial introduction, the text of the first quarto and a collation of variant readings from the second quarto and the First Folio. Passages unique to the Folio are printed separately in an appendix.