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Upon publication in 1997, The Norton Shakespeare set a new standard for teaching editions of Shakespeare's complete works.
Instructors and students worldwide welcomed the fresh scholarship, lively and accessible introductions, helpful marginal glosses and notes, readable single-column format, all designed in support of the goal of the Oxford text: to bring the modern reader closer than before possible to Shakespeare's plays as they were first acted. Now, under Stephen Greenblatt's direction, the editors have considered afresh each introduction and all of the apparatus to make the Second Edition an even better teaching tool.
- Sales Rank: #220653 in Books
- Brand: W.W. Norton & Co
- Published on: 2008-02-25
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.60" h x 3.20" w x 6.50" l, .0 pounds
- Binding: Hardcover
- 3419 pages
From Library Journal
In the crowded world of collected Shakespeares, there have been two notable works, The Oxford Shakespeare (Oxford Univ., 1986) and The Riverside Shakespeare (Houghton Mifflin, 1997). The most recent edition of the Riverside explores developments in Shakespearean criticism, while the Oxford presents an innovation in the Shakespearean canon. It is the Oxford edition that forms the core of The Norton Shakespeare, destined to change the count of notables to three. General editor Greenbelt (Berkeley and Harvard) and editors Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus, all noted scholars of the period, acknowledge their debt to the work of the Oxford editors. However, they use the strong foundation of the Oxford to create a new and wonderful text of great richness and depth. Their mission is to make Shakespeare accessible to modern readers. With lengthy introductions providing insight into Shakespeare's life and times as well as textual notes, marginal glosses, footnotes, and bibliographies, they more than achieve their aim. In addition, the work is designed for use in classrooms (the student version includes a CD-ROM) and to that end offers some fascinating textual editing to help both students and lovers of Shakespeare understand the complexity of his writing. With King Lear, for example, the editors offer three versions: the 1608 quarto text, the 1623 Folio text (on facing pages), and then a conflated version of the two so that readers can take their own measure of the merits of conflation. For Hamlet, the editors interpolated into the folio passages of the second quarto with different typeface and spacing so that readers can view the work as an organic text. The editors also seek to widen the reader's view of Shakespeare with additional essays by Andrew Gurr (Univ. of Reading) on Elizabethan and Jacobean expectations of theater as well as genealogies, an illustrated chronology of Shakespeare's life, and over 150 illustrations. The result is a work of immense scope, scholarship, and richness. Not only will it be a vital collection for years, it will become the standard to emulate. An essential purchase for all libraries.?Neal Wyatt, Chesterfield Cty. P.L., Va.
Copyright 1997 Reed Business Information, Inc.
About the Author
Stephen Greenblatt (Ph.D. Yale) is Cogan University Professor of the Humanities at Harvard University. Also General Editor of The Norton Anthology of English Literature, he is the author of eleven books, including The Swerve: How the World Became Modern (winner of the 2011 National Book Award and the 2012 Pulitzer Prize); Shakespeare's Freedom; Will in the World: How Shakespeare Became Shakespeare; Hamlet in Purgatory; Marvelous Possessions: The Wonder of the New World; Learning to Curse: Essays in Early Modern Culture; and Renaissance Self-Fashioning: From More to Shakespeare. He has edited seven collections of criticism, including Cultural Mobility: A Manifesto, and is a founding coeditor of the journal Representations. His honors include the MLA’s James Russell Lowell Prize, for both Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England and The Swerve, the Sapegno Prize, the Distinguished Humanist Award from the Mellon Foundation, the Wilbur Cross Medal from the Yale University Graduate School, the William Shakespeare Award for Classical Theatre, the Erasmus Institute Prize, two Guggenheim Fellowships, and the Distinguished Teaching Award from the University of California, Berkeley. He was president of the Modern Language Association of America and is a fellow of the American Academy of Arts and Sciences, the American Philosophical Society, and the American Academy of Arts and Letters.
Walter Cohen (Ph.D. Berkeley) is Professor of English at the University of Michigan, Ann Arbor, and Professor of Comparative Literature Emeritus at Cornell University, where he received the Clark Distinguished Teaching Award. He is the author of Drama of a Nation: Public Theater in Renaissance England and Spain, as well as numerous journal articles on Renaissance literature, literary criticism, the history of the novel, and world literature. He has recently completed a critical study entitled A History of European Literature: The West and the World from Antiquity to the Present.
Jean E. Howard (Ph.D., Yale) is the George Delacorte Professor in the Humanities at Columbia University. A past president of the Shakespeare Association of America, she is the author of numerous books on Renaissance drama, including Shakespeare’s Art of Orchestration: Stage Technique and Audience Response (1984), The Stage and Social Struggle (1994), Engendering a Nation: A Feminist Account of Shakespeare’s English Histories, with Phyllis Rackin (1997), Theater of a City: The Places of London Comedy 1598–1642 (2007), and Marx and Shakespeare with Crystal Bartolovich (2012). She is at work on a book about the English history play from Shakespeare to Caryl Churchill and another on the invention of Renaissance tragedy.
Katharine Eisaman Maus (Ph.D. Johns Hopkins) is James Branch Cabell Professor of English at the University of Virginia. She is the author of Being and Having in Shakespeare; Inwardness and Theater in the English Renaissance; and Ben Jonson and the Roman Frame of Mind; editor of a volume of Renaissance tragedies; and coeditor of English Renaissance Drama: A Norton Anthology, The Norton Anthology of English Literature, and a collection of criticism on seventeenth-century English poetry. She has been awarded Guggenheim, Leverhulme, NEH, and ACLS fellowships, and the Roland Bainton Prize for Inwardness and Theater.
Most helpful customer reviews
35 of 35 people found the following review helpful.
Best Choice
By Buffy
I'd rather give this 4.5 stars, but I can't. As another reviewer said, one wants to not like this volume. It's expensive and there are some annoying things about it--for example, the paper is soooo thin you can practically read the recto on the verso--but it is all-around the edition I turn to most often. The Riverside (I'd judge it to be the other most commonly used anthology) is absolutely ungainly. Its paper is certainly better, but the thing is absolutely huge. Looks great on the shelf, but horrible to carry with you to class. I also dislike the Riverside's two column layout and system of notation, which puts notes and glosses at the bottom of the page without indicators in the text. The Norton puts glosses in the margin, which I find infinitely less disturbing and more likely to be helpful, and it numbers footnotes. It also uses a single-column layout, which I find much easier to read and allows a smaller paper size (same size as all the other Nortons out there, same Bible paper too) without a smaller font size. The introductions to the individual plays have been farmed out to some of the best in the biz, so it's not just Greenblatt's book. For what it's worth, his job on the introductory material in this volume matches the quality of what you expect from one of the leading figures in the field. What's more, the scholarly material is very readable and generally helpful. Yes, the take of that material is definitely influenced by new historicism and cultural materialism, but anything compiled in the last 20 years is likely to be similarly influenced. There is also some good theater history help here and some good old facts. If you have problems with the Oxford edition, then you'll have problems with this one. If you don't, then it should be fine. For what it's worth, I reallllly like that there are the three Lear texts. This is a volume than can just be read if you want to read Shakespeare. But it's also a book that will get you through the hard stuff and that is fit for scholarly work.
0 of 0 people found the following review helpful.
great
By Evelyn
Absolutely, great book
31 of 33 people found the following review helpful.
Mutilated Shakespeare
By David Auerbach
A major flaw infects the Oxford Shakespeare, from which the Norton Shakespeare is derived: the editing of Shakespeare's texts themselves. The editors seem to have been driven by a desire to make a splash, even if this meant questionable and arbitrary editing of the texts, and so the Oxford/Norton Shakespeare features such oddness as:
* Two versions of King Lear, 90% identical and each missing some familiar lines (the Norton has three versions)
* A Macbeth that has had non-Shakespearean material added in to it, allowing it to be co-credited to Thomas Middleton (one editor is a Middleton fan)
* A Hamlet that has lost some of its most significant passages to an appendix
* Significant, damaging cuts to many of the other plays
* A Pericles with huge chunks of non-Shakespearean material added in, all of it terrible.
* Falstaff renamed to "Oldcastle" in Henry IV Part 1, though not in Part 2
* Wholly new stage directions that have been added in without note
* A horribly inept poem, "Shall I die", near-universally agreed upon not to be by Shakespeare, yet claimed as such
Yes: good Shakespeare material has been removed from the plays, and bad non-Shakespeare material has been added in.
So be aware that you will be reading versions of the plays that are substantially different than from what most people have read over the last century, or indeed, the last few centuries. And, usually, substantially worse versions. The changes tend to damage the plays, not improve them. The Norton Edition removes some of the most grotesque alterations (like Falstaff/Oldcastle), but hardly enough to undo the damage. It also raises the question of why Norton chose to use Oxford in the first place.
David Bevington's The Complete Works of Shakespeare (6th Edition) is an entirely more reasonable, thoughtful, and better-produced choice. Jonathan Bate's William Shakespeare Complete Works (Modern Library) is similarly sensible and somewhat cheaper.
For evidence on the specifics, I will turn matters over to expert Shakespeareans, who have complained loudly about this edition for the last 25 years:
David Bevington: "Hamlet is another matter, for here we deal primarily not with duplicatory passages but with whole speeches that the Oxford editors remove (or banish to an appendix) on the hypothesis that Shakespeare wished to excise them in his revised (Folio) version of the play. My problem with the adoption of this bold option is in being uncertain that Shakespeare made these particular cuts willingly. Many familiar passages from Richard III are missing from the text now given to us, having been relegated to a supplementary list of additional passages where they are out of context. A note at the head of these additional passages states that they were 'apparently omitted from performances,' but I question whether they were omitted from all performances, and, even if so, whether Shakespeare really preferred things that way. This edition cuts some Q materials from its text of Troilus and Cressida, along with Pandarus's epilogue. The text of Measure for Measure will surprise some of its readers by its omission of certain well-known passages."
Brian Vickers: "The editors' evidence (only published in 1993) for Middleton's hand in Measure for Measure mostly concerns Act One Scene Two, where several stylistic features, and some dramaturgical loose ends, suggest a revision by Middleton in about 1621. While accepting their attribution, I find it perverse that the Oxford-Norton editors should have printed Middleton's revised scene in their text, knowing that it was "made for Shakespeare's company after his death", and consequently relegating Shakespeare's briefer and wittier original to an appendix called "Additional Passages". But this textual waste bin should really be called "Passages Deducted by the Oxford Editors"."
Grace Ioppolo: "Stanley Wells, Gary Taylor, William Montgomery and John Jowett, the editors of William Shakespeare: The Complete Works, constructed their edition from two unsustainable arguments about scribal copy. First, these editors argued that any manuscript copy that contained act notations could not be authorial but must be scribal prior to 1609, when they assume Shakespeare's company moved into the private Blackfriars theatre at which music was played between acts. Second, they argued that scribes routinely introduced `interference' into the manuscripts they were copying, either by extensively adding their own or cutting the author's material."
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