82:T742,Shakespeare's Sonnets are among the most complex and beautiful poems ever written. Their exploration of love, praise, homo- and hetero-sexual desire is enacted in the richest, densest writing in English. And the first printed work to which Shakespeare's name was attached was the erotic narrative poem, Venus and Adonis, which developed a sumptuous vocabulary in which to explore love, praise of the beloved, sexual desire, and the power of rhetoric. That poem was so popular that most of Shakespeare's contemporaries thought of him as primarily a poet, rather than a playwright. Yet despite the power of Shakespeare's poems, and their foundational place within his oeuvre, modern readers have seldom been encouraged to engage with his non-dramatic works as a whole. This new edition explains how this state of affairs has arisen, and why it needs to be changed. The volume contains the complete Sonnets and poems with a full commentary. An extensive and lively introduction explores Shakespeare's poetic development, and shows how the poems relate to each other and to his dramatic works. The Sonnets are freshly interpreted, not as cryptic fragments of autobiography, but as works which ask their readers to think about relationships between lyric poems and the historical circumstances which may have given rise to them. The narrative poems Venus and Adonis and Lucrece are placed where they belong, at the origin of Shakespeare's thinking about what it means to desire and to be desired. The edition responds to the most recent scholarly work on the interpretation and dating of Shakespeare's poems and Sonnets. It also explores what the poems may have meant to their earliest readers. For this reason it also includes poems attributed to Shakespeare in the seventeenth century, as well as those printed under his name in The Passionate Pilgrim in 1599.83:T629,Shakespeare's early history plays have come into new prominence following their triumphant revival by the RSC under the title of This England. This new edition of the precursor to Richard III offers a fresh interpretation of the relationship between the two earliest texts - The True Tragedy of Richard Duke of York (octavo, 1595) and the First Folio Henry VI Part Three (1623) - arguing that the former is a memorially reported and original version of the play later revised for the Folio. The two therefore represent Shakespeare's early and revised conceptions of the play. Unlike all previous editions, the text here is based rigorously on the Folio, with a re-examination of the dates of composition, memorial reporting, and revision. The introduction provides a useful synopsis of the historical events dramatized by Shakespeare, and appendices present extracts from his two chronicle sources and a detailed analysis of his dramatization of particular passages. The play's stage history and critical interpretations are considered as cultural and artistic responses to its multiply-focused dramatic structure: they are thus integrated, instead of being treated in separated sections on characters and themes, critical fortunes, and stage performance. The commentary fully explains meanings of archaic words and phrases, identifies historical figures and events in relation to Shakespeare's sources, and illustrates characters and scenes by reference to a variety of modern stage performers and productions in England and the USA - the first edition of the play to do so.84:T665,King Lear, widely considered Shakespeare's most deeply moving, passionately expressed, and intellectually ambitious play, has almost always been edited from the revised version printed in the First Folio of 1623, with additions from the quarto of 1608. Acting on recent discoveries, this volume presents the first full, scholarly edition to be based firmly on the quarto, now recognized as the base text from which all others derive. A thorough, attractively written introduction suggests how the work grew slowly in Shakespeare's imagination, fed by years of reading, thinking, and experience as a practical dramatist. Analysis of the great range of literary and other sources from which he shaped the tragedy, and of its critical and theatrical history, indicates that the play felt as shocking and original to early audiences as it does now. Its challenges have often been evaded, notably in Nahum Tate's notorious adaptation. During the twentieth century, however, deeper understanding of the conventions of Shakespeare's theatre restored confidence in the theatrical viability of his original text, while the play has also generated a remarkable range of offshoots in film, television, the visual arts, music, and literature. The commentary to this edition offers detailed help in understanding the language and dramaturgy in relation to the theatres in which King Lear was first performed. Additional sections reprint the early ballad, ignored by all modern editors, which was among its earliest derivatives, and provide additional guides to understanding and appreciating one of the greatest masterworks of Western civilization.85:T4f7,This edition of one of Shakespeare's most popular and attractive plays adopts a radically new approach to the text. It offers modernized texts not only of the 1599 'good' quarto, but also of the short, or 'bad' quarto of 1597, regarding each as an independent witness to a 'mobile text' which changed in composition as Shakespeare wrote it and which has continued to evolve throughout its richly varied performance history, not only in the theatre but also in film, television, opera, and even ballet. The longer and more familiar text, first printed in 1599, is presented along with a detailed explanatory commentary sensitive to both literary and theatrical issues. The earlier, shorter text is annotated only where it differs significantly from the later. In addition to considering issues of performance, the Introduction traces the Romeo and Juliet narrative from its origins in myth through its adaptation in the novella, a form which changed the story in subtle ways as it crossed national boundaries from Italy to France to England. It shows how Shakespeare's transmutation of the story reflects contemporary concerns with love, death, adolescence, and patriarchism, and illuminates his artistic experimentations with poetry, style, rhetoric, and dramatic form.86:T6a8,William Shakespeare is a global icon for his plays such as Hamlet, Macbeth and Romeo and Juliet, but his poetic meditations on love are among the most powerful and evocative poems ever written. This Penguin Classics edition of Sonnets and A Lover's Complaint is edited by John Kerrigan.

'Shall I compare thee to a summer's day?'

The language of Shakespeare's sonnets has become inseparable from the language of love in English; but the force and tenderness of these poems is undiminished by age. When this volume of Shakespeare's poems first appeared in 1609, he had already written most of the great plays that made him famous. The 154 sonnets - all but two of which are addressed to a beautiful young man, 'Mr W.H.', or a treacherous 'dark lady' - contain some of the most exquisite and haunting poetry ever written, and deal with eternal subjects such as love and infidelity, memory and mortality, and the destruction wreaked by Time. Also included is A Lover's Complaint, originally published with the sonnets, in which a young woman is overheard lamenting her betrayal by a heartless seducer.

In his illuminating introduction, John Kerrigan examines how the sonnets are intertwined, the ways in which these works have been interpreted and the themes running through them. This edition also includes further reading, commentaries on each poem, a textual history, variant and further sonnets and an index of first lines.

If you enjoyed Sonnets and A Lover's Complaint, you might like John Milton's Paradise Lost, also available in Penguin Classics.

'Shakespeare led a life of allegory: his works are the comments on it'
John Keats87:T5ed,This is the first fully annotated and comprehensive modern-spelling edition of King Henry VIII - known in its early performances as All is True - for over ten years. It makes full use of current scholarship on the dating, authorship, printing, and sources of the play, as well as critical interpretations, and includes an up-to-date survey of the play in performance. It is the first edition to make frequent use of Cavendish's life of Cardinal Wolsey, which seems likely to have influenced certain aspects of the play, as well as the other recognized sources in Holinshed, Hall, and Foxe. On authorship, the editor concludes that Shakespeare and his younger colleague John Fletcher worked on the script together but that Shakespeare was probably the guiding spirit, as well as the principal author of several major scenes. That they worked closely together is demonstrated through the consistency of style and overall dramatic structure and theme. The differences between them are by comparison minor and have more to do with spelling, punctuation, and versification than with conceptions of character or other more significant features of the play. The distinctions are thoroughly discussed in the General Introduction. A fully detailed commentary and a selective collation of major variant readings appear immediately beneath the text. Special attention has been given to the frequent allusion to scripture and proverb lore. An index to all words glossed and authorities cited appears at the end of the volume.88:T460,This volume offers the most comprehensive and critically up-to-date edition of Troilus and Cressida available today. Bevington's learned and engaging introduction discusses the ambivalent status and genre of the play, variously presented in its early printing as a comedy, a history and a tragedy. He examines and assimilates the wide variety of critical responses the play has elicited, and argues its importance in today's culture as an experimental and open-ended work. He also, however, suggests that this experimentalism may have contributed to its lack of immediate stage success, and goes on to place the work in its late Elizabethan context of political instability and theatrical rivalry. A thorough performance history focuses chiefly on recent productions. The complex text situation is re-examined and the differing textual readings carefully explicated.'Bevington's edition is so clearly the best now available that it will no doubt quickly become standard practice for all study of this remarkable play to begin with this remarkable edition.'Eric Rasmussen, University of Nevada at Reno, Shakespeare Survey89:T4a6,This edition offers a fully modernized text of one of Shakespeare's most fascinating plays. Henry IV, Part 2 is the only play in the canon whose structure almost exactly mirrors that of its predecessor, and thereby affords unique perspectives on Shakespeares art and craft. Far from being the impoverished country cousin of an illustrious work, Part 2 introduces unforgettable new characters like Pistol and Shallow, and memorable minor players such as Doll Tearsheet and the reluctant Goucestershire recruits. Above all, it gives us more Falstaff. Although he is now politically distanced from Hal, he looms larger than ever as a mischievous figure who never ceases to fascinate with his unique blend of native wit, inventiveness, and corruption. Through a radical reconsideration of the play's text(s) and date, it is argued here for the first time that the character of Falstaff was called Oldcastle in Part 2 as well as in Part 1, and that it was the vetting of Part 2 for the 1596-7 Christmas performances at Court which led to the change of name in both plays. This edition moreover takes the view that the Folio-only passages in the play reflect the text of the original prompt-book.3c:["$","$L7d",null,{"state":{"mutations":[],"queries":[{"dehydratedAt":1793792794398,"state":{"data":{"pages":[{"requestId":"f8c0e4e4-8cda-44c5-9ff6-26a750e8ec01","total":{"value":975,"relation":"eq"},"rows":[{"entityType":"book","isbn":"9780198184317","id":1047901,"score":2,"position":408,"book":{"id":1047901,"isbn":"9780198184317","created":"2026-08-12T12:46:32.000Z","title":"The complete sonnets and poems","description":"$82","htmlDescription":null,"pages":760,"language":"eng","depth":49,"height":150,"width":224,"weight":1058,"edition":null,"publishDate":"2002","authorNames":"William Shakespeare, Colin Burrow","publisherName":"Oxford University Press","format":"BB","category":null,"image":null,"highResImage":null,"imageFile":null,"isRemoved":null,"views":0,"editionGroupId":265432,"editionGroupState":"UNPUBLISHED","adsCount":null,"minPrice":null,"source":"book-info-service","minNewPrice":5583,"varugruppCode":null,"isExercise":false,"inventory":null,"sellAsDigital":false,"editionGroupSearchEnabled":false}},{"entityType":"book","isbn":"9780198123651","id":1047764,"score":2,"position":409,"book":{"id":1047764,"isbn":"9780198123651","created":"2026-08-12T12:43:20.000Z","title":"Henry VI, Part Three","description":"$83","htmlDescription":null,"pages":402,"language":"eng","depth":28,"height":223,"width":155,"weight":617,"edition":null,"publishDate":"2001","authorNames":"William Shakespeare, Randall Martin","publisherName":"Oxford University Press","format":"BB","category":null,"image":null,"highResImage":null,"imageFile":null,"isRemoved":null,"views":0,"editionGroupId":265422,"editionGroupState":"UNPUBLISHED","adsCount":null,"minPrice":null,"source":"book-info-service","minNewPrice":3475,"varugruppCode":null,"isExercise":false,"inventory":null,"sellAsDigital":false,"editionGroupSearchEnabled":false}},{"entityType":"book","isbn":"9780486266862","id":1047906,"score":2,"position":410,"book":{"id":1047906,"isbn":"9780486266862","created":"2026-08-12T12:46:36.000Z","title":"Complete sonnets","description":"Over 150 exquisite poems deal with love, friendship, the tyranny of time, beauty's evanescence, death, and other themes in language unsurpassed in passion, precision, originality, and beauty. 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