This fully re-edited, modernised play text is accompanied by commentary notes and an introduction written by Paul Menzer, guiding you through the fume of fact and legend that have accompanied the play across the centuries.As well as the complete text of the play, this re-edited New Mermaids edition includes:· A detailed plot summary and annotations throughout the text· An annotated bibliography and suggestions for further reading· A comprehensive introduction exploring the historical and literary context, and performance history, including Orson Welles’s 1937 role as Doctor Faustus as well as recent productions at The Globe and the RSCOne of the most spectacular and popular plays of the Elizabethan stage, Christopher Marlowe's Doctor Faustus, with its fantastical mix of high-minded theology and low-brow slapstick, has allured generations of readers and playgoers in the ensuing centuries.

Dion Boucicault was a witty, selfish and deceitful charmer, a bigamist, a profligate spendthrift and the author of dozens of successful plays, only a handful of which endure. Among these his early comedies influenced Oscar Wilde, and his Irish melodramas Shaw, Synge, and O'Casey. London Assurance was his first success, a 'modern comedy' which opened at Covent Garden in 1841 and was the hit of the season. This is the first fully-annotated edition of the play, and it includes an outline of the author's amazing career, an account of the play's composition, and a critical introduction.

Written in defiance of Jeremy Collier and the budding fashion for sentimental drama, this late Restoration comedy exposes the reformed rake Loveless to the temptations of London and the charms of a merry widow, neither of which he is able to withstand. More memorable than the straying husband, however, is Restoration comedy's ultimate follower of fashion, Lord Foppington, who defends himself in the Epilogue by observing that no highwayman or Jacobite was ever well dressed. As the introduction to this edition argues, Sir John Vanbrugh - dramatist, architect and member of the influential Kit Cat Club - presents courtship and marriage not only with cynicism, but also with moral bravery and social impudence; qualities not much in evidence in his sentimental rivals.

The Critic was Sheridan's response to a very specific political and theatrical situation. In the summer of 1779, a Franco-Spanish invasion seemed imminent and patriotic fervour superseded party divisions and personal animosities. The Critic satirises the panic of the summer in the form of the comically misconceived tragedy 'The Spanish Armada' that is in rehearsal in the second and third acts, but The Critic ends with genuine patriotic feeling. This edition traces both the political and the theatrical objects of Sheridan's satire and discusses its reliance (and improvement) on earlier meta-theatrical burlesques like The Duke of Buckingham's Restoration romp The Rehearsal.

Farquhar's last two plays, The Recruiting Officer and The Beaux' Stratagem, have been called 'the last worthwhile comedies of the Restoration tradition'. Written during Farquhar's stint in Shrewsbury as part of a recruiting mission in 1704-5, The Recruiting Officer is a buoyant, whimsical piece stocked by a fairly conventional cast of characters: the rake-hero and his spirited lady (who dons breeches in the course of the action), his sober friend and the heroine's serious friend, the buffoon/coxcomb and his ill-fated amorous or heroic ventures. What makes the play entertaining is Farquhar's light, humane touch; what makes it original is his depiction of a real-life provincial town and the impact that ongoing warfare (in this case the War of the Spanish Succession) had on its civilian society.

New Mermaids are modern spelling, fully-annotated editions of important English plays. Each volume includes a critical introduction, biography of the author, discussions of dates and sources, textual details, a bibliography and information about the staging of the play.

The Witch (1615/16?), categorised by its author as 'a tragi-comedy', pits the intrigues of a group of Italian aristocrats against the malevolent practices of Hecate and her witches' coven, leaving the audience with the impression that human malevolence is by far the fiercer and more effective. This edition sets the play into its dramatic and literary contexts, ranging from Shakespeare's Macbeth and Middleton's own later tragedies to Reginald Scot's sceptical Discovery of Witchcraft and King James's virulent Daemonologie. It also argues that Middleton wrote it as a topical satire to capitalise on the scandal involving Frances Howard, who obtained a divorce from the Earl of Essex on the grounds that he had been sexually incapacitated by witchcraft; she was also rumoured to have tried to poison him. Middleton exposes his noble characters precisely by letting them get away with murder.

This collaborative masterpiece of hilarious city comedy was performed by the Children of the Revels at the Blackfriars playhouse in 1605. The story is of an allegorical simplicity that lends itself to satire of civic mores and traditions as well as to parody of the sentimental, idealising London comedy presented at the amphitheatres in the suburbs: Goldsmith Touchstone, an upright London citizen, has one modest and one ambitious daughter, one righteous and one disreputable apprentice; virtue is rewarded, ruthlessness comes to grief - and receives a drenching in the muddy Thames. The introduction to this edition discusses various methods of establishing authorship and highlights the irony of the collaborators' comic vision of contemporary London life.

It is a historical phenomenon that while thousands of women were being burnt as witches in early modern Europe, the English - although there were a few celebrated trials and executions, one of which the play dramatises - were not widely infected by the witch-craze. The stage seems to have provided an outlet for anxieties about witchcraft, as well as an opportunity for public analysis. The Witch of Edmonton (1621) manifests this fundamentally reasonable attitude, with Dekker insisting on justice for the poor and oppressed, Ford providing psychological character studies, and Rowley the clowning. The village community of Edmonton feels threatened by two misfits, Old Mother Sawyer, who has turned to the devil to aid her against her unfeeling neighbours, and Frank, who refuses to marry the woman of his father's choice and ends up murdering her. This edition shows how the play generates sympathy for both and how contemporaries would have responded to its presentation of village life and witchcraft.

New Mermaids are modern-spelling, fully-annotated editions of important English plays. Each volume includes a critical introduction, biography of the author, discussions of dates and sources, textual details, a bibliography and information about the staging of the play.

"This Malevole is one of the most prodigious affections that ever conversed with nature: a man, or rather a monster, more discontent than Lucifer." The Malcontent is a striking example of the new satiric tone and moral seriousness in English comedy of the early 1600s. The play's vision of a fallen humanity driven by lust and ambition is created partly by its depiction of Machiavellian intrigue in the court of Genoa, and partly by the disaffected Malevole, the malcontent of the title, who is actually the deposed Duke Altofronto in disguise. Marston's tragi-comedy is full of reversals, surprises and moral transformations and offers a thin disguise for the Jacobean court and its vices. This new student edition contains a lengthy new Introduction with background on the author, date and sources, theme, critical interpretation and stage history.

More successful in its day than The Way of the World, which is now accounted Congreve's best play, Love for Love (1695) is a comical farce manifesting the verbal polish and the theatrical wit that audiences so enjoy in Congreve. Valentine, Sir Sampson's dissolute eldest son, finds himself at a standstill; the only way out of his financial difficulties is to give in to his father's pressure to renounce his right of inheritance. While this suggestion immediately increases the chances of his bluff younger brother Ben on the marriage mart, Valentine's own chances with his beloved Angelica would proportionally decrease. To avoid having to sign the renunciation Valentine puts on an 'antic disposition' and pretends to be mad. Angelica, seeing through him, provokes him back into sanity by pretending to agree to marry his father. Valentine recovers, the lovers reunite, and Ben, too, has meanwhile found the girl of his heart

Like all of Jonson's city comedies, this play - here given in the 1616 Folio version, in which Jonson rewrote and set it in England, not Italy - is a kind of dramatised Do-It-Yourself kit on how to bluff one's way in Elizabethan London. Although Roman New Comedy, in which a crafty slave helps a wild youngster to marry the girl of his choice against his father's wishes, supplies Jonson with his basic plot, the world that he presents here is thoroughly contemporary and mundane. The characters' 'humours' - their driving obsessions - may vary, but all of them strive to represent something greater, nobler, cleverer than their real selves. The joke of the play, this editor suggests, is 'finally on all of us who unconsciously equate the universe with a story in which we play the hero'.

Although it was written shortly before or after Queen Elizabeth's death in 1603 and performed by the boy company at Blackfriars, this play foreshadows the light ladies and callous gallants of Restoration comedy. Passion is a scourge, love is humiliation, and friends might as well be enemies. Freevill discards his concubine Franceschina and, for a joke, sets his straight-laced friend Malheureux on to her, who falls for her and promises to carry out her revenge on Freevill by killing him. The play in the theatre, which is fully imagined in the introduction to this edition, impresses on the audience the spuriousness of rigid moral persuasions, especially when they are tried by fits of sexual passion.

Published in 1575 and acted at Christ's College, Cambridge, probably as early as King Edward V's reign, the drama of Grandma Gurton and her lost sewing needle, which is finally retrieved from the bottom of her servant Hodge's breeches, is an outstanding example of mid-Tudor comedy. Although a university production, the play's doggerel rhymes, its village characters and their dialect speech, its seemingly innocuous plot and its Rabelaisian humour are the very opposite of academic or neo-classical. Yet its anonymous author's ingenuity manifests itself at every turn, not least in the multiple ironies evoked when Diccon the trickster makes Hodge believe that he will conjure the devil by kissing his backside in a travesty of religious or masonic oath-taking.

Like Shakespeare's Juliet, Annabella, accompanied by her down-to-earth nurse, is introduced to a series of suitors to her hand. Like Juliet, she finds all of them unsatisfactory - and rightly so, for the audience know that the nastiest of them is having an affair with her domineering aunt. Like Juliet, Annabella is wooed by a sensitive and passionate young man whose love she returns - but this young man happens to be her own brother, Giovanni. When they consummate their love and she, to avoid the scandal of extramarital pregnancy, agrees to marry her aunt's lover, the tragic outcome is inevitable. John Ford, writing his psychologically powerful and intellectually challenging tragedies in the early years of King Charles I's reign, is a playwright of the first rank, as 20th-century directors have shown both in the theatre and on film.

Written for the adult players at the open-air Swan theatre in 1613, this master-piece of Jacobean city comedy signals its ironic nature even in the title: chaste maids, like most other goods and people in London's busiest commercial area, are likely to be fake. Money is more important than either happiness or honour; and the most coveted commodities to be bought with it are sex and social prestige. Middleton interweaves the fortunes of four families, who either seek to marry their children off as profitably as possible, to stop having any more for fear of poverty, or to acquire some in order to keep their property in the family. Most prosperous is the husband who pimps his wife to a rich knight and lets him support the household with his alimony. Like many early modern critics of London's enormous growth, this play warned: the city is a monster that lives off the money the country produces.

'Let him kill a lion with a pestle, husband; let him kill a lion with a pestle.' So exclaims the Grocer's wife who, with her husband and servants, is attending one of the London's elite playhouses where a theatre comany has just begun to perform. Peeved at the fact that all the plays they see are satires on the lives and values of London's citizenry, the Grocer and his wife interrupt and demand a play that instead contains chivalric quests and courtly love. What's more, they nominate their apprentice Rafe to take on the hero's role of the knight in this entirely new play. The author, Francis Beaumont, ends up not just satirising the grocers' naive taste for romance but parodying his own example of citizen comedy. This play-within-a-play becomes a pastiche of contemporary plays that scorned those who were not courtiers or at least gentlemen or ladies. Like Cervantes in Don Quixote, Beaumont exposes the folly of those that take representations for realities, but also celebrates their idealism and love of adventure.The editor, Michael Hattaway, is editor of plays by Shakespeare and Jonson as well as of several volumes of critical essays, and author of Elizabethan Popular Theatre, Hamlet: The Critics Debate, and Renaissance and Reformations: An Introduction to Early Modern English Literature. He is Professor Emeritus of English Literature in the University of Sheffield.

Enduringly popular less for its plots than for its verbal brilliance and wit, The School for Scandal (1777) was the most frequently performed play of its time. Sir Peter Teazle has made the perennial mistake of elderly bachelors in English comedy and married a much younger wife in the hope that she will be too innocent to cross him. In fact, Lady Teazle spends her time with Lady Sneerwell and the worst set of scandalmongers in town, who have a beady eye on Charles Surface, the reckless young libertine, in expectation of seeing him ruined. Charles, however, turns out to possess the sterling virtues of generosity and loyalty to friends and family; and it is his hypocritical brother Joseph who ends up the villain of the piece. This edition discusses Sheridan's earlier drafts for the play and sets it into its theatrical context of anti-sentimentalism and its social context of the London High Society in which Sheridan had begun to move.

"Take example, all ye that this do hear or see..." The Morality Play was popular in England between 1400 and 1600. It offers moral instruction and spiritual teaching with personal abstractions representing good and evil. Surviving plays from that period number about sixty and the three in this edition were among the first ten. Mankind is a plain, honest farming man who struggles against worldly and spiritual temptation. The bawdy humour and violent action in the play serve to make the moral point and instruct by example. Everyman portrays a man's struggles in the face of death to raise himself to a state of grace so that he may experience everlasting life. It is exceptional among the Moralities for this narrow focus on the last phase of life, and conveys its message with awe-inspiring seriousness. Mundus et Infans is more typical of the Morality genre. It shows an arrogant, bullying protagonist led astray by a single evildoer into a life of debauchery, before the inevitable conversion to virtue. In showing the whole of man's life it is the antithesis of Everyman, the action of which seems to take place in a single day.

One of the great Renaissance playwrights, Middleton wrote tragedies essentially different from either Marlowe's or Shakespeare's, being wittier than the former and more grittily ironic than the latter. The genre of 'citizen tragedy' came into its own in the eighteenth century, but Middleton can claim to have created it: Bianca, wife of a middling commercial agent, arouses the lust of the Duke of Florence and becomes his mistress, first secretly, then openly and finally, after her husband has been seduced by the scheming Lady Livia and stabbed by Livia's brother, the Duke's wife. Livia plots her revenge, and the play ends with a banquet and a masque that are a triumph of black farce. Middleton's powerful, psychologically complex female characters and his clear-sighted analysis of misogyny are bound to impress today's audiences, but it is the pervasive irony - cynicism, even - with which he dissects the motivations of both oppressor and victim that makes him so eerily modern.

In this late Restoration comedy Vanbrugh not only pushes the unhappily married couple, which had been good for no more than a raucous subplot in earlier comedies of manners, centre-stage - he also makes the audience sympathise with the wife: The only thing Sir John and Lady Brute agree on is that they ought not to have married each other; now he spends his time in drunken debauchery with his cronies, while she tries to withstand the advances of her admirer Constant. After a series of farcical accidents involving cross-dressing and the eternal lover-in-the-wardrobe, the couple end where they began. Since the scene in which Sir John disguises as a clergyman was deemed 'immoral and profane', an alternative scene (in its way equally profane) was written, in which he disguises as his own wife. This edition provides both versions and discusses the play's continuing popularity on the stage.

Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues that Dryden's own ambivalence about King Charles and his entourage, on whom he came to rely more on more for patronage, manifests itself in both plots; most of all perhaps in the excessively Francophile Melantha, whose affectation cannot quite hide her endearing joie-de-vivre.

'My own business always bores me to death; I prefer other people's' Lady Windermere has a happy marriage - or, at least, that's what she believes until one of London society's gossips, the Duchess of Berwick, arrives with her daughter to voice her suspicions about an affair Lord Windermere appears to be having. It's not just the Duchess who has evidence, however. Windermere's private bank book shows that he's been giving large sums of money to a 'Mrs Erlynne' - on frequent occasions - and he himself even admits to seeing much of the woman. To add insult to injury, Windermere insists that Mrs Erlynne is invited to the ball that is being held for Lady Windermere's birthday. Employing the witty dialogue, social satire and outrageous paradox for which he is still remembered, Wilde's play shows us the destructiveness of gossip and superficial judgement, examines the ambiguous sexual morality and gender politics at the heart of the British ruling class, while simultaneously challenging our perceptions of what constitutes a 'good woman'. This student edition contains a fully annotated version of the playtext.The introduction includes an account of Wilde's life and a detailed analysis of Lady Windermere's Fan as well as its stage history. Ian Small is Professor of English Literature at the University of Birmingham. He is the author of a number of critical studies on Wilde and has edited several of Wilde's works, including a scholarly edition of Wilde's second society comedy, A Woman of No Importance, also published in the New Mermaids series.

'A silent and loving woman is a gift of the lord' This 'excellent comedy of affliction' enjoyed enormous prestige for more than a century after its first performance: for John Dryden it had 'the greatest and most noble construction of any pure unmixed comedy in any language'. Its title signals Jonson's satiric and complex concern with gender: the play asks not only 'what should a man do?', but how should men and women behave, both as fit examples of their sex, and to one another? The characters furnish a cross-section of wrong answers, enabling Jonson to create riotous entertainment out of lack, loss and disharmony, to the point of denying the straightfowardly festive conclusion which audiences at comedies normally expect. Much of the comic vitality arises from a degeneration of language, which Jonson called 'the instrument of society', into empty chatter or furious abuse, and from a plot which is a series of lies and betrayals (the hero lies to everyone and Jonson lies to the audience).The central figure is a man named Morose, who hates noise yet lives in the centre of London, and who, because of his decision to marry a woman he supposes to be silent, exposes himself to a fantastic cacophony of voices, male, female and - epicene. This student edition contains a lengthy Introduction with background on the author, date and sources, theme, critical interpretation and stage history.

A main theme in early modern domestic tragedy was not marital discord as such but violent - usually unreasonably violent - behaviour on the husband's part. At a time when husbands were not only allowed but obliged to rule their families, including their wives, the definition of 'lawful and reasonable' measures of punishment were opened to debate. The marriage of John Frankford, a middling country gentleman, and his wife Anne is comfortable if uneventful, until Wendoll, an acquaintance of her husband's, confesses his passionate love to her. Anne yields to him; they are discovered. Instead of killing the two adulterers on the spot - a vengeance that society would condone - Frankford banishes his wife from the house and their two children. Racked by guilt and remorse, Anne starves herself to death; but Heywood allows a scene of deathbed reconciliation to wife and husband.

Both Sheridan and Goldsmith lamented the popularity of sentimental comedy in the later eighteenth century and wrote their witty and satirical plays (though never lascivious in the manner of Restoration comedies) to counteract the sentimental mode. The Rivals (1775) was a qualified success: the suave young officer who is 'forced' by his father to marry the very girl to whom he is secretly engaged must always please; but first audiences were as uncertain as later critics about how to evaluate his neurotic friend Faulkland, who invents a series of caveats for his marriage to the earnest Julia. A country squire who becomes alarmingly foppish in town, an impetuous Irishman and the linguistically challenged Mrs Malaprop complete the cast. This edition includes the original preface and several prologues; in an appendix it lists all the fashionable books and songs to which the characters allude.

The action of She Stoops to Conquer (1773) is largely confined to a night and a day in Squire Hardcastle's somewhat dilapidated country house: Young Marlow, on his way there to meet the bride his father has chosen for him, loses his way and arrives at the house assuming it is an inn. The prospect of meeting the genteel Miss Hardcastle terrifies the diffident youngster; but the serving-girl Kate - in fact, Miss Hardcastle, who chooses not to clarify the misunderstanding - immediately catches his fancy and cannot complain of a lack of ardour in her well-born suitor. After a series of trifling confusions and the inevitable eavesdropping-from-behind-a-screen, all is resolved so pleasingly that the comedy has been a favourite with amateur and professional companies and their audiences for over 230 years.

This Jacobean city comedy is a curiosity in that it presents a real-life character, the notorious cross-dresser Moll Frith, who probably was among the first audiences of 'her' play before she was taken up for public misconduct. Middleton and Dekker's 'roaring girl' may outrage her society with her pipe, bluster and swagger, but she turns out to be the moral centre of the play. Her code of honour leads her to call the bluff on rogues and conspicuous consumers, to thrash a hypocritical gallant in a duel, and to act as go-between for the young lovers thwarted by parental tyranny. This wry dramatisation of female deviancy exposing male ineffectuality is as much to the point today as it was in King James's England. An appendix helps the modern reader to appreciate the canting terms used by the low-life characters.

This fully re-edited, modernised play text is accompanied by commentary notes and an introduction written by Paul Menzer, guiding you through the fume of fact and legend that have accompanied the play across the centuries.As well as the complete text of the play, this re-edited New Mermaids edition includes:· A detailed plot summary and annotations throughout the text· An annotated bibliography and suggestions for further reading· A comprehensive introduction exploring the historical and literary context, and performance history, including Orson Welles’s 1937 role as Doctor Faustus as well as recent productions at The Globe and the RSCOne of the most spectacular and popular plays of the Elizabethan stage, Christopher Marlowe's Doctor Faustus, with its fantastical mix of high-minded theology and low-brow slapstick, has allured generations of readers and playgoers in the ensuing centuries.

Dion Boucicault was a witty, selfish and deceitful charmer, a bigamist, a profligate spendthrift and the author of dozens of successful plays, only a handful of which endure. Among these his early comedies influenced Oscar Wilde, and his Irish melodramas Shaw, Synge, and O'Casey. London Assurance was his first success, a 'modern comedy' which opened at Covent Garden in 1841 and was the hit of the season. This is the first fully-annotated edition of the play, and it includes an outline of the author's amazing career, an account of the play's composition, and a critical introduction.

Written in defiance of Jeremy Collier and the budding fashion for sentimental drama, this late Restoration comedy exposes the reformed rake Loveless to the temptations of London and the charms of a merry widow, neither of which he is able to withstand. More memorable than the straying husband, however, is Restoration comedy's ultimate follower of fashion, Lord Foppington, who defends himself in the Epilogue by observing that no highwayman or Jacobite was ever well dressed. As the introduction to this edition argues, Sir John Vanbrugh - dramatist, architect and member of the influential Kit Cat Club - presents courtship and marriage not only with cynicism, but also with moral bravery and social impudence; qualities not much in evidence in his sentimental rivals.

The Critic was Sheridan's response to a very specific political and theatrical situation. In the summer of 1779, a Franco-Spanish invasion seemed imminent and patriotic fervour superseded party divisions and personal animosities. The Critic satirises the panic of the summer in the form of the comically misconceived tragedy 'The Spanish Armada' that is in rehearsal in the second and third acts, but The Critic ends with genuine patriotic feeling. This edition traces both the political and the theatrical objects of Sheridan's satire and discusses its reliance (and improvement) on earlier meta-theatrical burlesques like The Duke of Buckingham's Restoration romp The Rehearsal.

Farquhar's last two plays, The Recruiting Officer and The Beaux' Stratagem, have been called 'the last worthwhile comedies of the Restoration tradition'. Written during Farquhar's stint in Shrewsbury as part of a recruiting mission in 1704-5, The Recruiting Officer is a buoyant, whimsical piece stocked by a fairly conventional cast of characters: the rake-hero and his spirited lady (who dons breeches in the course of the action), his sober friend and the heroine's serious friend, the buffoon/coxcomb and his ill-fated amorous or heroic ventures. What makes the play entertaining is Farquhar's light, humane touch; what makes it original is his depiction of a real-life provincial town and the impact that ongoing warfare (in this case the War of the Spanish Succession) had on its civilian society.

New Mermaids are modern spelling, fully-annotated editions of important English plays. Each volume includes a critical introduction, biography of the author, discussions of dates and sources, textual details, a bibliography and information about the staging of the play.

The Witch (1615/16?), categorised by its author as 'a tragi-comedy', pits the intrigues of a group of Italian aristocrats against the malevolent practices of Hecate and her witches' coven, leaving the audience with the impression that human malevolence is by far the fiercer and more effective. This edition sets the play into its dramatic and literary contexts, ranging from Shakespeare's Macbeth and Middleton's own later tragedies to Reginald Scot's sceptical Discovery of Witchcraft and King James's virulent Daemonologie. It also argues that Middleton wrote it as a topical satire to capitalise on the scandal involving Frances Howard, who obtained a divorce from the Earl of Essex on the grounds that he had been sexually incapacitated by witchcraft; she was also rumoured to have tried to poison him. Middleton exposes his noble characters precisely by letting them get away with murder.

This collaborative masterpiece of hilarious city comedy was performed by the Children of the Revels at the Blackfriars playhouse in 1605. The story is of an allegorical simplicity that lends itself to satire of civic mores and traditions as well as to parody of the sentimental, idealising London comedy presented at the amphitheatres in the suburbs: Goldsmith Touchstone, an upright London citizen, has one modest and one ambitious daughter, one righteous and one disreputable apprentice; virtue is rewarded, ruthlessness comes to grief - and receives a drenching in the muddy Thames. The introduction to this edition discusses various methods of establishing authorship and highlights the irony of the collaborators' comic vision of contemporary London life.

It is a historical phenomenon that while thousands of women were being burnt as witches in early modern Europe, the English - although there were a few celebrated trials and executions, one of which the play dramatises - were not widely infected by the witch-craze. The stage seems to have provided an outlet for anxieties about witchcraft, as well as an opportunity for public analysis. The Witch of Edmonton (1621) manifests this fundamentally reasonable attitude, with Dekker insisting on justice for the poor and oppressed, Ford providing psychological character studies, and Rowley the clowning. The village community of Edmonton feels threatened by two misfits, Old Mother Sawyer, who has turned to the devil to aid her against her unfeeling neighbours, and Frank, who refuses to marry the woman of his father's choice and ends up murdering her. This edition shows how the play generates sympathy for both and how contemporaries would have responded to its presentation of village life and witchcraft.

New Mermaids are modern-spelling, fully-annotated editions of important English plays. Each volume includes a critical introduction, biography of the author, discussions of dates and sources, textual details, a bibliography and information about the staging of the play.

"This Malevole is one of the most prodigious affections that ever conversed with nature: a man, or rather a monster, more discontent than Lucifer." The Malcontent is a striking example of the new satiric tone and moral seriousness in English comedy of the early 1600s. The play's vision of a fallen humanity driven by lust and ambition is created partly by its depiction of Machiavellian intrigue in the court of Genoa, and partly by the disaffected Malevole, the malcontent of the title, who is actually the deposed Duke Altofronto in disguise. Marston's tragi-comedy is full of reversals, surprises and moral transformations and offers a thin disguise for the Jacobean court and its vices. This new student edition contains a lengthy new Introduction with background on the author, date and sources, theme, critical interpretation and stage history.

More successful in its day than The Way of the World, which is now accounted Congreve's best play, Love for Love (1695) is a comical farce manifesting the verbal polish and the theatrical wit that audiences so enjoy in Congreve. Valentine, Sir Sampson's dissolute eldest son, finds himself at a standstill; the only way out of his financial difficulties is to give in to his father's pressure to renounce his right of inheritance. While this suggestion immediately increases the chances of his bluff younger brother Ben on the marriage mart, Valentine's own chances with his beloved Angelica would proportionally decrease. To avoid having to sign the renunciation Valentine puts on an 'antic disposition' and pretends to be mad. Angelica, seeing through him, provokes him back into sanity by pretending to agree to marry his father. Valentine recovers, the lovers reunite, and Ben, too, has meanwhile found the girl of his heart

Like all of Jonson's city comedies, this play - here given in the 1616 Folio version, in which Jonson rewrote and set it in England, not Italy - is a kind of dramatised Do-It-Yourself kit on how to bluff one's way in Elizabethan London. Although Roman New Comedy, in which a crafty slave helps a wild youngster to marry the girl of his choice against his father's wishes, supplies Jonson with his basic plot, the world that he presents here is thoroughly contemporary and mundane. The characters' 'humours' - their driving obsessions - may vary, but all of them strive to represent something greater, nobler, cleverer than their real selves. The joke of the play, this editor suggests, is 'finally on all of us who unconsciously equate the universe with a story in which we play the hero'.

Although it was written shortly before or after Queen Elizabeth's death in 1603 and performed by the boy company at Blackfriars, this play foreshadows the light ladies and callous gallants of Restoration comedy. Passion is a scourge, love is humiliation, and friends might as well be enemies. Freevill discards his concubine Franceschina and, for a joke, sets his straight-laced friend Malheureux on to her, who falls for her and promises to carry out her revenge on Freevill by killing him. The play in the theatre, which is fully imagined in the introduction to this edition, impresses on the audience the spuriousness of rigid moral persuasions, especially when they are tried by fits of sexual passion.

Published in 1575 and acted at Christ's College, Cambridge, probably as early as King Edward V's reign, the drama of Grandma Gurton and her lost sewing needle, which is finally retrieved from the bottom of her servant Hodge's breeches, is an outstanding example of mid-Tudor comedy. Although a university production, the play's doggerel rhymes, its village characters and their dialect speech, its seemingly innocuous plot and its Rabelaisian humour are the very opposite of academic or neo-classical. Yet its anonymous author's ingenuity manifests itself at every turn, not least in the multiple ironies evoked when Diccon the trickster makes Hodge believe that he will conjure the devil by kissing his backside in a travesty of religious or masonic oath-taking.

Like Shakespeare's Juliet, Annabella, accompanied by her down-to-earth nurse, is introduced to a series of suitors to her hand. Like Juliet, she finds all of them unsatisfactory - and rightly so, for the audience know that the nastiest of them is having an affair with her domineering aunt. Like Juliet, Annabella is wooed by a sensitive and passionate young man whose love she returns - but this young man happens to be her own brother, Giovanni. When they consummate their love and she, to avoid the scandal of extramarital pregnancy, agrees to marry her aunt's lover, the tragic outcome is inevitable. John Ford, writing his psychologically powerful and intellectually challenging tragedies in the early years of King Charles I's reign, is a playwright of the first rank, as 20th-century directors have shown both in the theatre and on film.

Written for the adult players at the open-air Swan theatre in 1613, this master-piece of Jacobean city comedy signals its ironic nature even in the title: chaste maids, like most other goods and people in London's busiest commercial area, are likely to be fake. Money is more important than either happiness or honour; and the most coveted commodities to be bought with it are sex and social prestige. Middleton interweaves the fortunes of four families, who either seek to marry their children off as profitably as possible, to stop having any more for fear of poverty, or to acquire some in order to keep their property in the family. Most prosperous is the husband who pimps his wife to a rich knight and lets him support the household with his alimony. Like many early modern critics of London's enormous growth, this play warned: the city is a monster that lives off the money the country produces.

'Let him kill a lion with a pestle, husband; let him kill a lion with a pestle.' So exclaims the Grocer's wife who, with her husband and servants, is attending one of the London's elite playhouses where a theatre comany has just begun to perform. Peeved at the fact that all the plays they see are satires on the lives and values of London's citizenry, the Grocer and his wife interrupt and demand a play that instead contains chivalric quests and courtly love. What's more, they nominate their apprentice Rafe to take on the hero's role of the knight in this entirely new play. The author, Francis Beaumont, ends up not just satirising the grocers' naive taste for romance but parodying his own example of citizen comedy. This play-within-a-play becomes a pastiche of contemporary plays that scorned those who were not courtiers or at least gentlemen or ladies. Like Cervantes in Don Quixote, Beaumont exposes the folly of those that take representations for realities, but also celebrates their idealism and love of adventure.The editor, Michael Hattaway, is editor of plays by Shakespeare and Jonson as well as of several volumes of critical essays, and author of Elizabethan Popular Theatre, Hamlet: The Critics Debate, and Renaissance and Reformations: An Introduction to Early Modern English Literature. He is Professor Emeritus of English Literature in the University of Sheffield.

Enduringly popular less for its plots than for its verbal brilliance and wit, The School for Scandal (1777) was the most frequently performed play of its time. Sir Peter Teazle has made the perennial mistake of elderly bachelors in English comedy and married a much younger wife in the hope that she will be too innocent to cross him. In fact, Lady Teazle spends her time with Lady Sneerwell and the worst set of scandalmongers in town, who have a beady eye on Charles Surface, the reckless young libertine, in expectation of seeing him ruined. Charles, however, turns out to possess the sterling virtues of generosity and loyalty to friends and family; and it is his hypocritical brother Joseph who ends up the villain of the piece. This edition discusses Sheridan's earlier drafts for the play and sets it into its theatrical context of anti-sentimentalism and its social context of the London High Society in which Sheridan had begun to move.

"Take example, all ye that this do hear or see..." The Morality Play was popular in England between 1400 and 1600. It offers moral instruction and spiritual teaching with personal abstractions representing good and evil. Surviving plays from that period number about sixty and the three in this edition were among the first ten. Mankind is a plain, honest farming man who struggles against worldly and spiritual temptation. The bawdy humour and violent action in the play serve to make the moral point and instruct by example. Everyman portrays a man's struggles in the face of death to raise himself to a state of grace so that he may experience everlasting life. It is exceptional among the Moralities for this narrow focus on the last phase of life, and conveys its message with awe-inspiring seriousness. Mundus et Infans is more typical of the Morality genre. It shows an arrogant, bullying protagonist led astray by a single evildoer into a life of debauchery, before the inevitable conversion to virtue. In showing the whole of man's life it is the antithesis of Everyman, the action of which seems to take place in a single day.

One of the great Renaissance playwrights, Middleton wrote tragedies essentially different from either Marlowe's or Shakespeare's, being wittier than the former and more grittily ironic than the latter. The genre of 'citizen tragedy' came into its own in the eighteenth century, but Middleton can claim to have created it: Bianca, wife of a middling commercial agent, arouses the lust of the Duke of Florence and becomes his mistress, first secretly, then openly and finally, after her husband has been seduced by the scheming Lady Livia and stabbed by Livia's brother, the Duke's wife. Livia plots her revenge, and the play ends with a banquet and a masque that are a triumph of black farce. Middleton's powerful, psychologically complex female characters and his clear-sighted analysis of misogyny are bound to impress today's audiences, but it is the pervasive irony - cynicism, even - with which he dissects the motivations of both oppressor and victim that makes him so eerily modern.

In this late Restoration comedy Vanbrugh not only pushes the unhappily married couple, which had been good for no more than a raucous subplot in earlier comedies of manners, centre-stage - he also makes the audience sympathise with the wife: The only thing Sir John and Lady Brute agree on is that they ought not to have married each other; now he spends his time in drunken debauchery with his cronies, while she tries to withstand the advances of her admirer Constant. After a series of farcical accidents involving cross-dressing and the eternal lover-in-the-wardrobe, the couple end where they began. Since the scene in which Sir John disguises as a clergyman was deemed 'immoral and profane', an alternative scene (in its way equally profane) was written, in which he disguises as his own wife. This edition provides both versions and discusses the play's continuing popularity on the stage.

Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues that Dryden's own ambivalence about King Charles and his entourage, on whom he came to rely more on more for patronage, manifests itself in both plots; most of all perhaps in the excessively Francophile Melantha, whose affectation cannot quite hide her endearing joie-de-vivre.

'My own business always bores me to death; I prefer other people's' Lady Windermere has a happy marriage - or, at least, that's what she believes until one of London society's gossips, the Duchess of Berwick, arrives with her daughter to voice her suspicions about an affair Lord Windermere appears to be having. It's not just the Duchess who has evidence, however. Windermere's private bank book shows that he's been giving large sums of money to a 'Mrs Erlynne' - on frequent occasions - and he himself even admits to seeing much of the woman. To add insult to injury, Windermere insists that Mrs Erlynne is invited to the ball that is being held for Lady Windermere's birthday. Employing the witty dialogue, social satire and outrageous paradox for which he is still remembered, Wilde's play shows us the destructiveness of gossip and superficial judgement, examines the ambiguous sexual morality and gender politics at the heart of the British ruling class, while simultaneously challenging our perceptions of what constitutes a 'good woman'. This student edition contains a fully annotated version of the playtext.The introduction includes an account of Wilde's life and a detailed analysis of Lady Windermere's Fan as well as its stage history. Ian Small is Professor of English Literature at the University of Birmingham. He is the author of a number of critical studies on Wilde and has edited several of Wilde's works, including a scholarly edition of Wilde's second society comedy, A Woman of No Importance, also published in the New Mermaids series.

'A silent and loving woman is a gift of the lord' This 'excellent comedy of affliction' enjoyed enormous prestige for more than a century after its first performance: for John Dryden it had 'the greatest and most noble construction of any pure unmixed comedy in any language'. Its title signals Jonson's satiric and complex concern with gender: the play asks not only 'what should a man do?', but how should men and women behave, both as fit examples of their sex, and to one another? The characters furnish a cross-section of wrong answers, enabling Jonson to create riotous entertainment out of lack, loss and disharmony, to the point of denying the straightfowardly festive conclusion which audiences at comedies normally expect. Much of the comic vitality arises from a degeneration of language, which Jonson called 'the instrument of society', into empty chatter or furious abuse, and from a plot which is a series of lies and betrayals (the hero lies to everyone and Jonson lies to the audience).The central figure is a man named Morose, who hates noise yet lives in the centre of London, and who, because of his decision to marry a woman he supposes to be silent, exposes himself to a fantastic cacophony of voices, male, female and - epicene. This student edition contains a lengthy Introduction with background on the author, date and sources, theme, critical interpretation and stage history.

A main theme in early modern domestic tragedy was not marital discord as such but violent - usually unreasonably violent - behaviour on the husband's part. At a time when husbands were not only allowed but obliged to rule their families, including their wives, the definition of 'lawful and reasonable' measures of punishment were opened to debate. The marriage of John Frankford, a middling country gentleman, and his wife Anne is comfortable if uneventful, until Wendoll, an acquaintance of her husband's, confesses his passionate love to her. Anne yields to him; they are discovered. Instead of killing the two adulterers on the spot - a vengeance that society would condone - Frankford banishes his wife from the house and their two children. Racked by guilt and remorse, Anne starves herself to death; but Heywood allows a scene of deathbed reconciliation to wife and husband.

Both Sheridan and Goldsmith lamented the popularity of sentimental comedy in the later eighteenth century and wrote their witty and satirical plays (though never lascivious in the manner of Restoration comedies) to counteract the sentimental mode. The Rivals (1775) was a qualified success: the suave young officer who is 'forced' by his father to marry the very girl to whom he is secretly engaged must always please; but first audiences were as uncertain as later critics about how to evaluate his neurotic friend Faulkland, who invents a series of caveats for his marriage to the earnest Julia. A country squire who becomes alarmingly foppish in town, an impetuous Irishman and the linguistically challenged Mrs Malaprop complete the cast. This edition includes the original preface and several prologues; in an appendix it lists all the fashionable books and songs to which the characters allude.

The action of She Stoops to Conquer (1773) is largely confined to a night and a day in Squire Hardcastle's somewhat dilapidated country house: Young Marlow, on his way there to meet the bride his father has chosen for him, loses his way and arrives at the house assuming it is an inn. The prospect of meeting the genteel Miss Hardcastle terrifies the diffident youngster; but the serving-girl Kate - in fact, Miss Hardcastle, who chooses not to clarify the misunderstanding - immediately catches his fancy and cannot complain of a lack of ardour in her well-born suitor. After a series of trifling confusions and the inevitable eavesdropping-from-behind-a-screen, all is resolved so pleasingly that the comedy has been a favourite with amateur and professional companies and their audiences for over 230 years.

This Jacobean city comedy is a curiosity in that it presents a real-life character, the notorious cross-dresser Moll Frith, who probably was among the first audiences of 'her' play before she was taken up for public misconduct. Middleton and Dekker's 'roaring girl' may outrage her society with her pipe, bluster and swagger, but she turns out to be the moral centre of the play. Her code of honour leads her to call the bluff on rogues and conspicuous consumers, to thrash a hypocritical gallant in a duel, and to act as go-between for the young lovers thwarted by parental tyranny. This wry dramatisation of female deviancy exposing male ineffectuality is as much to the point today as it was in King James's England. An appendix helps the modern reader to appreciate the canting terms used by the low-life characters.