This is the first dedicated account of the ways in which Shakespeare's texts were read in the two centuries after they were produced. A close examination of rare, often unpublished material offers a reconsideration of the role of readers in the history of Shakespeare's rise to fame.

This landmark collection of newly-commissioned essays by leading international scholars, offers expert close readings of Shakespeare and other early modern authors. The book is an intervention into current critical methodology as well as an invaluable tool for all students of the literature of the period, exemplifying the possibilities of close reading in the hands of a range of gifted practitioners. Chapters cover a range of key texts from Shakespeare and other major writers of the period such as Milton, Donne, Jonson and Sidney. This is a unique collection as no other book offers such a rich variety of self-contained, short-form close readings. As such it can be used in the undergraduate classroom as well as by scholars and post-graduates and will also appeal to literary readers with an enthusiasm for Shakespeare. Contributors include leading Shakespeareans Stanley Wells, Stanley Fish, Coppelia Kahn and Lukas Erne.

This study grows out of the intersection of two realms of scholarly investigation - the emerging public sphere in early modern England and the history of the book. Shakespeare's Reading Audiences examines the ways in which different communities - humanist, legal, religious and political - would have interpreted Shakespeare's plays and poems, whether printed or performed. Cyndia Susan Clegg begins by analysing elite reading clusters associated with the Court, the universities, and the Inns of Court and how their interpretation of Shakespeare's Sonnets and Henry V arose from their reading of Italian humanists. She concludes by examining how widely held public knowledge about English history both affected Richard II's reception and how such knowledge was appropriated by the State. She also considers The Merry Wives of Windsor, Henry V, and Othello from the point of view of audience members conversant in popular English legal writing and Macbeth from the perspective of popular English Calvinism.

For more than four centuries, cultural preferences, literary values, critical contexts, and personal tastes have governed readers’ responses to Shakespeare’s sonnets. Early private readers often considered these poems in light of the religious, political, and humanist values by which they lived. Other seventeenth- and eighteenth- century readers, such as stationers and editors, balanced their personal literary preferences against the imagined or actual interests of the literate public to whom they marketed carefully curated editions of the sonnets, often successfully. Whether public or private, however, many disparate sonnet interpretations from the sonnets’ first two centuries in print have been overlooked by modern sonnet scholarship, with its emphasis on narrative and amorous readings of the 1609 sequence. First Readers of Shakespeare’s Sonnets reintroduces many early readings of Shakespeare’s sonnets, arguing that studying the priorities and interpretations of these previous readers expands the modern critical applications of these poems, thereby affording them numerous future applications. This volume draws upon book history, manuscript studies, and editorial theory to recover four lost critical approaches to the sonnets, highlighting early readers’ interests in Shakespeare’s classical adaptations, political applicability, religious themes, and rhetorical skill during the seventeenth and eighteenth centuries.

Twelve of the Bard's most famous plays, delightfully adapted for young readers: Romeo and Juliet, Hamlet, King Lear, As You Like It, and eight others.

In Reading Shakespeare Film First, Mary Ellen Dakin asserts that we need to read Shakespeare in triplicate--as the stuff of transformative literature, theater, and film. The potential for the mutual reinforcement and transfer of twenty-first-century literacy skills between text and film is too promising for classroom teachers to overlook. Studying Shakespeare in the high school classroom can and sometimes should begin with images and film. In Reading Shakespeare Film First, Mary Ellen Dakin asserts that we need to read Shakespeare in triplicate--as the stuff of transformative literature, theater, and film. The potential for the mutual reinforcement and transfer of twenty-first-century literacy skills between text and film is too promising for classroom teachers to overlook. The heart of this book is a triangle whose three points are literary, theatrical, and cinematic; the chapters map a route around the perimeter of the triangle, guiding teachers and students with carefully researched and classroom-tested strategies for crossing over from Shakespeare's rich and strange early modern English to equally rich and strange modern film and illustrated productions of his plays. Along the way, readers engage in reading and analyzing film stills, movie posters, and book covers; recognizing the three faces of film: literary, theatrical, and cinematic; exploring in depth the theatrical and cinematic elements of Shakespeare and then reconnecting them to the text; reading Shakespeare in full-length films; and transmediating Shakespeare's scripts into theater and film. As the "old" language of Shakespeare is constantly renewed through the "new" language of film, students develop twenty-first-century literacy skills through a marriage of the two.

Richard Stonley has all but vanished from history, but to his contemporaries he would have been an enviable figure. A clerk of the Exchequer for more than four decades under Mary Tudor and Elizabeth I, he rose from obscure origins to a life of opulence; his job, a secure bureaucratic post with a guaranteed income, was the kind of which many men dreamed. Vast sums of money passed through his hands, some of which he used to engage in moneylending and land speculation. He also bought books, lots of them, amassing one of the largest libraries in early modern London. In 1597, all of this was brought to a halt when Stonley, aged around seventy-seven, was incarcerated in the Fleet Prison, convicted of embezzling the spectacular sum of £13,000 from the Exchequer. His property was sold off, and an inventory was made of his house on Aldersgate Street. This provides our most detailed guide to his lost library. By chance, we also have three handwritten volumes of accounts, in which he earlier itemized his spending on food, clothing, travel, and books. It is here that we learn that on June 12, 1593, he bought "the Venus & Adhonay per Shakspere"—the earliest known record of a purchase of Shakespeare's first publication. In Shakespeare's First Reader, Jason Scott-Warren sets Stonley's journals and inventories of goods alongside a wealth of archival evidence to put his life and library back together again. He shows how Stonley's books were integral to the material worlds he inhabited and the social networks he formed with communities of merchants, printers, recusants, and spies. Through a combination of book history and biography, Shakespeare's First Reader provides a compelling "bio-bibliography"—the story of how one early modern gentleman lived in and through his library.