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This is the first edition of Shakespeare's Sonnets in over sixty years to bring together the commentary of various scholars. Atkins is the first to collate the seventeen scholarly editions of The Sonnets published since Rollins's New Variorum of 1944 so that substantive differences among them can be fully appreciated and compared. He has culled the most important commentary and emendations of Shakespeare's editors from Gildon (1710) to Mowat and Werstine (2004). The discussion of meter and verse is more substantial than can be found in any other edition, a feature that adds particular dimension to this text. Since the last edition, the study of The Sonnets has advanced significantly so that the issues discussed are freshly relevant. Each of the modern editions newly collated in this book has had a different approach. With few exceptions, however, previous commentary is given short shrift in each successive edition so that the reader of any one edition obtains only a small glimpse of the range of thought available on The Sonnets. This edition gives access in one volume to all the commentary, modern and time-honored, with which to interpret and appreciate these glorious poems. Atkins synthesizes this work and brings his own perspective and freshness to the field, adding to the long tradition of quality scholarship in Shakespeare studies. Each sonnet is presented exactly as printed in 1609. The original spelling and punctuation are maintained, the latter being an important guide to meaning and rhythm that is too often destroyed by modernizing editors. Textual notes documenting the emendations recommended by modern editors follow the text. Atkins includes his own conservative recommendations in his notes, the first editor to base decisions about emendations on bibliographic principles, using our knowledge of printing methods in Shakespeare's day to determine the likelihood of particular printing errors. Glosses of difficult words and phrases follow, mostly chosen from among Sh
On 19 December 1601, John Croke, then Speaker of the House of Commons, addressed his colleagues: "If a question should be asked, What is the first and chief thing in a Commonwealth to be regarded? I should say, religion. If, What is the second? I should say, religion. If, What the third? I should still say, religion." But if religion was recognized as the "chief thing in a Commonwealth," we have been less certain what it does in Shakespeare's plays. Written and performed in a culture in which religion was indeed inescapable, the plays have usually been seen either as evidence of Shakespeare's own disinterested secularism or, more recently, as coded signposts to his own sectarian commitments. Based upon the inaugural series of the Oxford-Wells Shakespeare Lectures in 2008, A Will to Believe offers a thoughtful, surprising, and often moving consideration of how religion actually functions in them: not as keys to Shakespeare's own faith but as remarkably sensitive registers of the various ways in which religion charged the world in which he lived. The book shows what we know and can't know about Shakespeare's own beliefs, and demonstrates, in a series of wonderfully alert and agile readings, how the often fraught and vertiginous religious environment of Post-Reformation England gets refracted by the lens of Shakespeare's imagination.
The first book to explore Virginia Woolf's preoccupation with the literary past and its profound impact on the content and structure of her novels.It analyses Woolf's reading and writing practices via her essays, diaries and reading notebooks and presents chronological studies of eight of her novels, exploring how Woolf's intensive reading surfaced in her fiction. The book sheds light on Woolf's varied and intricate use of literary allusions; examines ways in which Woolf revisited and revised plots and tropes from earlier fiction; and looks at how she used parody as a means both of critical comment and homage.
Using the concept of otherness as an entry point into a discussion of poetry, Jonathan Hart's study explores the role of history and theory in relation to literature and culture. Chapters range from trauma in Shakespeare to Bartolomé de Las Casas' representation of the Americas to the trench poets to voices from the Holocaust.