Comedy and Tragedy--Collected here in one binding are All's Well That Ends Well Measure for Measure and The History of Troilus and Cressida. Collectively they are known as Shakespeare's Problem Plays. While the first two are usually placed with the comedies and the later with the tragedies none of them fit neatly into either classification. Their structure subject matter and resolutions create problems for those who want simple classifications. The term was coined by critic F. S. Boas who believed that these plays each explored a moral dilemma and social problem through their main characters giving the term a layered meaning. O it is excellentTo have a giant's strength;But it is tyrannousTo use it like a giant.

It successfully argues that "William Shakespeare" was the pen name of an aristocrat, and that William Shakespeare of Stratford-upon-Avon was a shrewd entrepreneur, not a dramatist."--BOOK JACKET.

"This is exactly the kind of work, with its synthesis of theory, close reading, and deconstructive performance criticism that many of us in the profession have been looking for." -- Joel B. Altman, University of California, Berkeley "McCandless's book represents an inventive and illuminating account that not only produces a theoretically activated text but also explores a range of options for staging it, turning theoretical into theatrical meanings." -- Barbara Hodgdon, Drake University "The writing is clear, snappy, wonderfully informed with a vivid and experienced theatrical imagination... a book that taught me a good deal about the problem comedies, especially from the vantage point of performance, though the insights into performance are fully and incisively integrated with, and they richly illuminate, formal, thematic, and psychological vantage points on the play." -- Richard P. Wheeler, University of Illinois Composed at a critical moment in English history, All's Well That Ends Well, Measure for Measure, and Troilus and Cressida -- Shakespeare's problem plays -- dramatize a crisis in the sex-gender system. They register a male dread of emasculation and engulfment, a fear of female authority and sexuality. In these plays males identify desire for a female as dangerous and unmanly, females contend and confound traditional femininity. David McCandless's book is a unique and invigorating example of performance criticism that illuminates these difficult, sometimes-overlooked tragicomedies. It is an original and timely contribution to Shakespearean theater scholarship.

Kidnie brings current debates in performance criticism in contact with recent developments in textual studies to explore what it is that distinguishes Shakespearean work from its apparent other, the adaptation.

Shakespeare's plays provide a rich source of genre variation as well as moral or ethical issues that invite deep study. The genre issue often proves the very moral crux where Shakespeare raises the most complex questions. He aimed to build good plays, not simple fulfillments of genre demands. To him "good plays" meant leaving his audience with problems to consider. This book begins with those works most commonly appearing in studies of problem plays, The Merchant of Venice, Troilus and Cressida, All's Well That Ends Well, Measure for Measure; moves to some comedic problem plays, Much Ado About Nothing, A Midsummer Night's Dream, and Twelfth Night; and then to tragic problem plays, Hamlet, Othello, and King Lear. It concludes with some problems in the history and romance genres for the issues they raise in love, adventure, and governance: Henry IV, Part 1, Henry V, Cymbeline, The Tempest, and Love's Labor's Lost.

Hamlet, Troilus and Cressida, All's Well That Ends Well and Measure for Measure - these are all described by the author as Shakespeare's problem plays. In each of them, the author argues, Shakespeare is deeply interested in speculative thought and in the observance of human nature for their own sake; and each is concerned with men on the edge of manhood and of the harsh experiences which forced them to grow up.