The Merry Wives of Windsor was almost certainly required at short notice for a court occasion in 1597: Shakespeare threw into it all the creative energy that went into his Henry IV plays. Falstaff is here, with Pistol, Mistress Quickly, and Justice Shallow, in a spirited and warm-hearted `citizen comedy'. Boisterous action is combined with situational irony and rich characterization.In his introduction T. W. Craik discusses the play's probable occasion (the Garter Feast of 1597 at court), its relationship to Shakespeare's English history plays and to other sources, its textual history (with particular reference to the widely diverging 1623 Folio and 1602 Quarto), and its original quality as drama. He assesses various interpretations of the play, topical, critical, and theatrical. In the commentary he pays particular attention to expounding the literal sense (he proposes some new readings) and evoking the stage business.

Originally published in 1964. This book deals wholly with Chaucer’s comic tales. The individual tales are not discussed in isolation but always with reference to the others and to Chaucer’s poetry as a whole. By this comparison and analysis, this book illuminates the features of Chaucer’s many-sided art.

Originally published in 1964. This book deals wholly with Chaucer’s comic tales. The individual tales are not discussed in isolation but always with reference to the others and to Chaucer’s poetry as a whole. By this comparison and analysis, this book illuminates the features of Chaucer’s many-sided art.

Generally acknowledged to be the most powerful of Beaumont and Fletcher’s plays and frequently performed by the best actors of the seventeenth and early eighteenth century, The Maid’s Tragedy (1610-11) disappeared from the stage (except in a much-altered and very successful Victorian adaptation) until recent years, when major companies have rediscovered its appeal. In this fully annotated edition, the editor has given careful attention to the sense of the lines, the stage action and the verse. Many new emendations of textual errors, as well as improvements in stage directions and lineation, are either introduced or proposed. The introduction explores Beaumont and Fletcher’s use of the three known sources (two of them previously neglected) for incidents in the play, gives the fullest available account of its stage history, and provides a sympathetic interpretation of the play as a romantic tragedy.

The Merry Wives of Windsor was almost certainly required at short notice for a court occasion in 1597: Shakespeare threw into it all the creative energy that went into his Henry IV plays. Falstaff is here, with Pistol, Mistress Quickly, and Justice Shallow, in a spirited and warm-hearted `citizen comedy'. Boisterous action is combined with situational irony and rich characterization.In his introduction T. W. Craik discusses the play's probable occasion (the Garter Feast of 1597 at court), its relationship to Shakespeare's English history plays and to other sources, its textual history (with particular reference to the widely diverging 1623 Folio and 1602 Quarto), and its original quality as drama. He assesses various interpretations of the play, topical, critical, and theatrical. In the commentary he pays particular attention to expounding the literal sense (he proposes some new readings) and evoking the stage business.

Originally published in 1964. This book deals wholly with Chaucer’s comic tales. The individual tales are not discussed in isolation but always with reference to the others and to Chaucer’s poetry as a whole. By this comparison and analysis, this book illuminates the features of Chaucer’s many-sided art.

Originally published in 1964. This book deals wholly with Chaucer’s comic tales. The individual tales are not discussed in isolation but always with reference to the others and to Chaucer’s poetry as a whole. By this comparison and analysis, this book illuminates the features of Chaucer’s many-sided art.

Generally acknowledged to be the most powerful of Beaumont and Fletcher’s plays and frequently performed by the best actors of the seventeenth and early eighteenth century, The Maid’s Tragedy (1610-11) disappeared from the stage (except in a much-altered and very successful Victorian adaptation) until recent years, when major companies have rediscovered its appeal. In this fully annotated edition, the editor has given careful attention to the sense of the lines, the stage action and the verse. Many new emendations of textual errors, as well as improvements in stage directions and lineation, are either introduced or proposed. The introduction explores Beaumont and Fletcher’s use of the three known sources (two of them previously neglected) for incidents in the play, gives the fullest available account of its stage history, and provides a sympathetic interpretation of the play as a romantic tragedy.