By Richard Dutton, Jean E. Howard (eds.)

ISBN-10: 0470996560

ISBN-13: 9780470996560

ISBN-10: 0631226354

ISBN-13: 9780631226352

The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely finished image of present Shakespeare feedback. This quantity appears to be like at Shakespeare’s poems, challenge comedies and overdue performs.

  • Contains unique essays on Troilus and Cressida, degree for degree, All's good That Ends good, Venus and Adonis, The Rape of Lucrece, and The Sonnets, in addition to Pericles, The Winter's story, Cymbeline, The Tempest, Henry VIII and The Noble Kinsmen.
  • Includes 11 essays on such issues because the reception heritage of the sonnets, collaboration in Shakespeare's center and past due performs, the customary type of Shakespeare's past due performs, The Tempest in functionality, and the relation of Shakespeare's "problem performs" to the paintings of latest dramatists.
  • Brings jointly new essays from a various, foreign workforce of students.
  • Complements David Scott Kastan's A significant other to Shakespeare (1999), which eager about Shakespeare as an writer in his old context.
  • Offers a provocative roadmap to Shakespeare stories.

Chapter 1 Shakespeare's Sonnets and the heritage of Sexuality: A Reception historical past (pages 4–26): Bruce R. Smith
Chapter 2 The ebook of alterations in a Time of switch: Ovid's Metamorphoses in Post?Reformation England and Venus and Adonis (pages 27–45): Dympna Callaghan
Chapter three Shakespeare's challenge performs and the Drama of His Time: Troilus and Cressida, All's good That Ends good, degree for degree (pages 46–68): Paul Yachnin
Chapter four The Privy and Its Double: Scatology and Satire in Shakespeare's Theatre (pages 69–88): Bruce Boehrer
Chapter five Hymeneal Blood, Interchangeable girls, and the Early glossy Marriage economic system in degree for degree and All's good That Ends good (pages 89–105): Theodora A. Jankowski
Chapter 6 different types of Collaboration in Shakespeare's challenge performs and overdue performs (pages 106–128): John Jowett
Chapter 7 “What's in a Name?” Tragicomedy, Romance, or overdue Comedy (pages 129–149): Barbara A. Mowat
Chapter eight type: Shakespeare and Beaumont and Fletcher (pages 150–174): Russ McDonald
Chapter nine position and area in 3 overdue performs (pages 175–193): John Gillies
Chapter 10 The Politics and expertise of Spectacle within the overdue performs (pages 194–215): David M. Bergeron
Chapter eleven The Tempest in functionality (pages 216–239): Diana E. Henderson
Chapter 12 What It sounds like For a Boy: Shakespeare's Venus and Adonis (pages 240–258): Richard Rambuss
Chapter thirteen Publishing disgrace: The Rape of Lucrece (pages 259–274): Coppelia Kahn
Chapter 14 The Sonnets: series, Sexuality, and Shakespeare's Loves (pages 275–301): Valerie Traub
Chapter 15 Troilus and Cressida (pages 302–315): Linda Charnes
Chapter sixteen establishing Doubts Upon the legislation: degree for degree (pages 316–332): Karen Cunningham
Chapter 17 “Doctor She”: therapeutic and intercourse in All's good That Ends good (pages 333–347): Barbara Howard Traister
Chapter 18 “You now not your baby good loving”: textual content and family members constitution in Pericles (pages 348–364): Suzanne Gossett
Chapter 19 “Imagine Me, light Spectators”: Iconomachy and The Winter's story (pages 365–388): Marion O'Connor
Chapter 20 Cymbeline: Patriotism and function (pages 389–407): Valerie Wayne
Chapter 21 “Meaner Ministers”: Mastery, Bondage, and Theatrical hard work within the Tempest (pages 408–426): Daniel Vitkus
Chapter 22 Queens and the constitution of heritage in Henry VIII (pages 427–444): Susan Frye
Chapter 23 combined Messages: The Aesthetics of the 2 Noble Kinsmen (pages 445–461): Julie Sanders

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Additional info for A Companion to Shakespeare's Works, Volume 4: The Poems, Problem Comedies, Late Plays

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Cady, J. (1992). “Masculine Love,” Renaissance Writing, and the “New Invention” of Homosexuality. In C. J. ) Homosexuality in Renaissance and Enlightenment England: Literary Representations in Historical Context. New York: Harrington Park Press. Chalmers, A. ) (1810). The Works of the English Poets, Volume 5. London: Printed for J. Johnson et al. Crompton, L. (1985). Byron and Greek Love: Homophobia in 19th-Century England. Berkeley: University of California Press. de Grazia, M. (1991). Shakespeare Verbatim: The Reproduction of Authenticity and the 1790 Apparatus.

Unlike Virgil, famously translated by Henry Howard, Earl of Surrey into English blank verse, which had the respectability of epic poetry, in the right circumstances, Ovid, from the radical Protestant perspective at least, could be dangerous. None of this is meant to imply that Ovid was unavailable to medieval readers. In fact, the trajectory of English Renaissance Ovidianism runs from Chaucer’s debt to Ovid in The Legend of Good Women and Gower’s Confessio Amantis, both of which rework the Pyramus and Thisbe story in Book IV of the Metamorphoses.

Some Manuscripts of Shakespeare’s Sonnets. Bulletin of the John Rylands University Library of Manchester, 68, 210–46. Traub, V. (2000). Sex without Issue: Sodomy, Reproduction, and Signification in Shakespeare’s Sonnets. In J. ) Shakespeare’s Sonnets: Critical Essays. London: Routledge. Trumbach, R. (1989). The Birth of the Queen: Sodomy and the Emergence of Gender Equality in Modern Culture, 1660–1750. In M. B. Duberman, M. Vicinus, and G. Chauncey, Jr. ) Hidden from History: Reclaiming the Gay and Lesbian Past.

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A Companion to Shakespeare's Works, Volume 4: The Poems, Problem Comedies, Late Plays by Richard Dutton, Jean E. Howard (eds.)

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