Volume 3 covers the years 1590-1597 and sees the start of Shakespeare's career as a dramatist.

This is a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history.

This is the sixth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history.

A survey of modern cinematic and televisual responses to the concept of the golden age

This companion volume to The New Oxford Shakespeare: The Complete Works concentrates on the issues of canon and chronology—currently the most active and controversial debates in the field of Shakespeare editing. It presents in full the evidence behind the choices made in The Complete Works about which works Shakespeare wrote, in whole or part. A major new contribution to attribution studies, the Authorship Companion illuminates the work and methodology underpinning the groundbreaking New Oxford Shakespeare, and casts new light on the professional working practices, and creative endeavours, of Shakespeare and his contemporaries. We now know that Shakespeare collaborated with his literary and dramatic contemporaries, and that others adapted his works before they reached printed publication. The Authorship Companion's essays explore and explain these processes, laying out everything we currently know about the works' authorship. Using a variety of different attribution methods, The New Oxford Shakespeare has confirmed the presence of other writers' hands in plays that until recently were thought to be Shakespeare's solo work. Taking this process further with meticulous, fresh scholarship, essays in the Authorship Companion show why we must now add new plays to the accepted Shakespeare canon and reattribute certain parts of familiar Shakespeare plays to other writers. The technical arguments for these decisions about Shakespeare's creativity are carefully laid out in language that anyone interested in the topic can understand. The latest methods for authorship attribution are explained in simple but accurate terms and all the linguistic data on which the conclusions are based is provided. The New Oxford Shakespeare consists of four interconnected publications: the Modern Critical Edition (with modern spelling), the Critical Reference Edition (with original spelling), a companion volume on Authorship, and an online version integrating all of this material on OUP's high-powered scholarly editions platform. Together, they provide the perfect resource for the future of Shakespeare studies.

The influence of Cicero is everywhere to be found. His rhetorical and philosophical writings have made an inescapable impact on the history of western culture, impressing figures such as Augustine, Jerome, Petrarch, Erasmus, Martin Luther, John Locke, David Hume, John Adams and Thomas Jefferson. Despite his wide appeal, until now no study has yet offered a comprehensive overview of 'Cicero' as a character in stage plays in the early modern and modern periods. The first book of its kind to discuss Cicero's reception on stage, it includes works by Ben Jonson (1611, Catiline His Conspiracy), Voltaire (1752, Rome sauvée, ou Catilina), Richard Cumberland (1761, The Banishment of Cicero), Henry Bliss (1847, Cicero, A drama) and, most recently, Mike Poulton (Imperium, adapted from the novels of Robert Harris in 2017). Through a chapter-by-chapter account of each play in turn, every oeuvre is placed in its historical and cultural context; the plots are discussed in relation to the ancient sources. These analyses demonstrate how the presentation and assessment of the figure of Cicero develop over time and how this character is exploited for varying political statements. The wealth of material in this book is vital reading for scholars of Classics, drama and literary studies as well as historians of ideas and of the early modern age.

The story of the troubled accession of England's first Scottish king and the transition from the age of the Tudors to the age of the Stuarts at the dawn of the seventeenth century.