William Shakespeare - The Oxford Shakespeare: The Complete Works, Second Edition
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Hailed by The Washington Post as a definitive synthesis of the best editions and by The Times of London as a monument to Shakespearean scholarship, The Oxford Shakespeare is the ultimate anthology of the Bards work: the most authoritative edition of the plays and poems ever published. Now, almost two decades after the original volume, Oxford is proud to announce a thoroughly updated second edition, including for the first time the texts of The Reign of Edward III and Sir Thomas More, recognizing these two plays officially as authentic works by Shakespeare. This beautiful collection is the product of years of full-time research by a team of British and American scholars and represents the most thorough examination ever undertaken of the nature and authority of Shakespeares work. The editors reconsidered every detail of the text in the light of modern scholarship and they thoroughly re-examined the earliest printed versions of the plays, firmly establishing the canon and chronological order of composition. All stage directions have been reconsidered in light of original staging, and many new directions for essential action have been added. This superb volume also features a brief introduction to each work as well as an illuminating General Introduction. Finally, the editors have added a wealth of secondary material, including an essay on language, a list of contemporary allusions to Shakespeare, an index of Shakespearean characters, a glossary, a consolidated bibliography, and an index of first lines of the Sonnets. Compiled by the worlds leading authorities, packed with information, and attractively designed, The Oxford Shakespeare is the gold standard of Shakespearean anthologies.
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Table of Contents
Martin Droeshouts engraving of Shakespeare, first published on the title-page of the First Folio (1623)
To the Reader
This figure that thou here seest put,
It was for gentle Shakespeare cut,
Wherein the graver had a strife
With nature to outdo the life.
O, could he but have drawn his wit
As well in brass as he hath hit
His face, the print would then surpass
All that was ever writ in brass!
But since he cannot, reader, look
Not on his picture, but his book.
It was for gentle Shakespeare cut,
Wherein the graver had a strife
With nature to outdo the life.
O, could he but have drawn his wit
As well in brass as he hath hit
His face, the print would then surpass
All that was ever writ in brass!
But since he cannot, reader, look
Not on his picture, but his book.
BEN JOHNSON
Great Clarendon Street, Oxford 0x2 6DP
Oxford University Press is a department of the University of Oxford.
It furthers the Universitys objective of excellence in research, scholarship,
and education by publishing worldwide in
It furthers the Universitys objective of excellence in research, scholarship,
and education by publishing worldwide in
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Oxford is a registered trade mark of Oxford University Press
in the UK and in certain other countries
Guatemala Hungary Italy Japan Poland Portugal Singapore
South Korea Switzerland Thailand Turkey Ukraine Vietnam
Oxford is a registered trade mark of Oxford University Press
in the UK and in certain other countries
Published in the United States
by Oxford University Press Inc., New York
by Oxford University Press Inc., New York
The moral rights of the authors have been asserted
Database right Oxford University Press (maker)
Database right Oxford University Press (maker)
Hardback first published 1986
Hardback compact edition 1988
Paperback compact edition 1994
Second edition published 2005
Hardback compact edition 1988
Paperback compact edition 1994
Second edition published 2005
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
without the prior permission in writing of Oxford University Press,
or as expressly permitted by law, or under terms agreed with the appropriate
reprographics rights organizations. Enquiries concerning reproduction
outside the scope of the above should be sent to the Rights Department,
Oxford University Press, at the address above
stored in a retrieval system, or transmitted, in any form or by any means,
without the prior permission in writing of Oxford University Press,
or as expressly permitted by law, or under terms agreed with the appropriate
reprographics rights organizations. Enquiries concerning reproduction
outside the scope of the above should be sent to the Rights Department,
Oxford University Press, at the address above
You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer
British Library Cataloguing in Publication Data
Data available
Library of Congress Cataloguing in Publication Data
Data applied for
ISBN 0-19-926717-O (hbk)
ISBN 0-19-926718-9 (pbk)
Typeset by RefineCatch Limited, Bungay, Suffolk
Printed in Italy by Legoprint
WILLIAM SHAKESPEARE
THE COMPLETE WORKS
with a General Introduction, and Introductions to individual works, by
STANLEY WELLS
The Complete Works has been edited collaboratively under the General Editorship of Stanley Wells and Gary Taylor. Each editor has undertaken prime responsibility for certain works, as follows:
STANLEY WELLS The Two Gentlemen of Verona; The Taming of the Shrew; Titus Andronicus; Venus and Adonis; The Rape of Lucrece; Loves Labours Lost; Much Ado About Nothing; As You Like It; Twelfth Night; The Sonnets and A Lovers Complaint; Various Poems (printed); Othello; Macbeth; Antony and Cleopatra; The Winters Tale
GARY TAYLOR I Henry VI; Richard III; The Comedy of Errors; A Midsummer Nights Dream; Henry V; Hamlet; Troilus and Cressida ; Various Poems (manuscript); Alls Well That Ends Well; King Lear ; Pericles; Cymbeline
JOHN JOWETT Richard II; Romeo and Juliet; King John; I Henry IV; The Merry Wives of Windsor; 2 Henry IV; Julius Caesar; Sir Thomas More; Measure for Measure; Timon of Athens; Coriolanus; The Tempest
WILLIAM MONTGOMERY The First Part of the Contention; Richard Duke of York; Edward III; The Merchant of Venice; All Is True; The Two Noble Kinsmen
American Advisory Editor S. Schoenbaum
Textual Adviser G. R. Proudfoot
Music Adviser F. W. Sternfeld
Editorial Assistant Christine Avern- Carr
ACKNOWLEDGEMENTS
THE preparation of a volume such as this would be impossible without the generosity that scholars can count on receiving from their colleagues, at home and overseas. Among those to whom we are particularly grateful are: R. E. Alton; John P. Andrews; Peter Beal; Thomas L. Berger; David Bevington; J. W. Binns; Peter W. M. Blayney; Fredson Bowers; A. W. Braunmuller; Alan Brissenden; Susan Brock; J. P. Brockbank; Robert Burchfield; Lou Burnard; Lesley Burnett; John Carey; Janet Clare; Thomas Clayton; T. W. Craik; Norman Davis; Alan Dessen; E. E. Duncan-Jones; K. Duncan-Jones; R. D. Eagleson; Philip Edwards; G. Blakemore Evans; Jean Fuzier; Hans Walter Gabler; Philip Gaskell; A. J. Gurr; Antony Hammond; Richard Hardin; G. R. Hibbard; Myra Hinman; R. V. Holdsworth; E. A. J. Honigmann; T. H. Howard-Hill; MacD. P. Jackson; Harold Jenkins; Charles Johnston; John Kerrigan; Randall McLeod; Nancy Maguire; Giorgio Melchiori; Peter Milward; Kenneth Muir; Stephen Orgel; Kenneth Palmer; John Pitcher; Eleanor Prosser; S. W. Reid; Marvin Spevack; R. K. Turner; E. M. Waith; Michael Warren; R. J. C. Watt; Paul Werstine; G. Walton Williams; Laetitia Yeandle.
We are conscious also of a great debt to the past: to our predecessors R. B. McKerrow and Alice Walker, who did not live to complete an Oxford Shakespeare but whose papers have been of invaluable assistance, and to the long line of editors and other scholars, from Nicholas Rowe onwards, whose work is acknowledged in William Shakespeare: A Textual Companion .
We gratefully acknowledge assistance from the staff of the following libraries and institutions: the Beinecke Library, Yale University; the Birmingham Shakespeare Library; the Bodleian Library, Oxford; the British Library; the English Faculty Library, Oxford; the Folger Shakespeare Library; Lambeth Palace Library; St. Johns College, Cambridge; the Shakespeare Centre, Stratford-upon-Avon; the Shakespeare Institute, University of Birmingham; Trinity College, Cambridge; the Victoria and Albert Museum; Westminster Abbey Library.
Many debts of gratitude have also been incurred to persons employed in a variety of capacities by Oxford University Press. Among those with whom we have worked especially closely are Linda Agerbak, Sue Dommett, Oonagh Ferrier, Paul Luna, Jamie Mackay, Louise Pengelley, Graham Roberts, Maria Tsoutsos, and Patricia Wilkie. John Bell started it all, Kim Scott Walwyn made sure we finished it, and from beginning to end Christine Avern-Carrs meticulous standards of accuracy have been exemplary.
S.W.W. G.T.
J.J. W.L.M.
J.J. W.L.M.
GENERAL INTRODUCTION
THIS volume contains all the known plays and poems of William Shakespeare, a writer, actor, and man of the theatre who lived from 1564 to 1616. He was successful and admired in his own time; major literary figures of the subsequent century, such as John Milton, John Dryden, and Alexander Pope, paid tribute to him, and some of his plays continued to be acted during the later seventeenth and earlier eighteenth centuries; but not until the dawn of Romanticism, in the later part of the eighteenth century, did he come to be looked upon as a universal genius who outshone all his fellows and even, some said, partook of the divine. Since then, no other secular imaginative writer has exerted so great an influence over so large a proportion of the worlds population. Yet Shakespeares work is firmly rooted in the circumstances of its conception and development. Its initial success depended entirely on its capacity to please the theatre-goers (and, to a far lesser extent, the readers) of its time; and its later, profound impact is due in great part to that in-built need for constant renewal and adaptation that belongs especially to those works of art that reach full realization only in performance. Shakespeares power over generations later than his own has been transmitted in part by artists who have drawn on, interpreted, and restructured his texts as others have drawn on the myths of antiquity; but it is the texts as they were originally performed that are the sources of his power, and that we attempt here to present with as much fidelity to his intentions as the circumstances in which they have been preserved will allow.
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