DOCSLIB.ORG

{PDF} the Riverside Shakespeare 2Nd Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF} the Riverside Shakespeare 2Nd Edition THE RIVERSIDE SHAKESPEARE 2ND EDITION PDF, EPUB, EBOOK Frank Kermode | --- | --- | --- | 9780395754900 | --- | --- riverside shakespeare products for sale | eBay Are you certain this article is inappropriate? Email Address:. The Riverside Shakespeare is a long-running series of editions of the complete works of William Shakespeare published by the Houghton Mifflin company. A new version was published in as a full scholarly edition, presenting each of the plays with introductions and textual notes, as well as several essays on Shakespeare's life and works. The general editor was G. Blakemore Evans. A revised edition was published in , which is notable for being the first major complete works edition to include the disputed play Edward III , as well as A Funeral Elegy which was written by John Ford and is mistakenly attributed to Shakespeare here. My Dashboard Get Published. I wished Hamlet could have made his mind up already, though! And I hated how poor Ophelia lost the will to live after he told her to go to a nunnery. Othello was probably the precursor for many a jealous obsessive asshole Harlequin Presents hero. I preferred Julius Caesar to Antony and Cleopatra because there was more intrigue to analyze. And I will always have a special love for The Tempest because it's so epic! I've always said that when I have a daughter I shall probably name her Miranda or Ariel. View 2 comments. The copy I have used to be my mum's. It's full of annotations that she wrote down while reading Shakespeare at University. Aside from the small print, it is a good edition to use while reading the Bard. Oct 08, Ben Truong rated it it was amazing Shelves: anthologies , poetry , plays , reference , classics. However, I have rated the plays individually if one cares to check. What this review would focus on the functionality of this particular edition of the text. The Riverside Shakespeare collects forty plays, five poems, sonnets, and one elegy that are attributed in full or N. The Riverside Shakespeare collects forty plays, five poems, sonnets, and one elegy that are attributed in full or in part to William Shakespeare. A Funeral Elegy by W. Each play and poem has a wonderfully written and well researched essays proceeding them plays in multiple parts have one introductory essay. The plays and poems are divided into two-column texted on each page with a nifty glossary of words in the footnotes of each column. At the end of each play are textual notes, which is a tad cumbersome flipping back and forth. Included are a plethora of essay about Shakespeare and his times, his works, his criticism, and his legacy. Furthermore, there are four appendices, four indexes indices? Additionally, there are thirty-nine colored plates throughout the text, which could be better placed as they pop up during mid- text or plays at times. All in all, The Riverside Shakespeare is a wonderful anthology and reference to the works of William Shakespeare — it may be too bold of this reviewer to say that this edition of the text may be the definitive collection for the works of William Shakespeare. Apr 15, David added it Shelves: new-in Before Gary loses his mind altogether about how much reading I do, Ive been at this one since April of I list it as new this year as I did earlier with the NIV Study Biblein its case also a different translation, something not applicable to Shakespeare because all the scholarly apparatus is new to me: introductory essays, notes on source texts and variants, general chronology of other events during Shakespeares lifetime, critical surveys of performance history, etc. I started reading the second Riverside edition while I was still teaching Shakespeare—which I have not been doing since So the Riverside reading began for me in the spirit of Sir Georg Solti, who once mentioned that he would occasionally begin conducting Beethoven by starting with a new, unmarked score, rather than just repeat what he had previously done. I did not know at the time that I would soon no longer have quite the same professional need for the text. I finished it anyway. I tend to be like that. I did find the scholarly apparatus informative; there was always something new to consider about each text. We each have our views, some of them held very deeply, about which texts represent his peak achievements. For some, there are no troughs in the work. I tend more towards the view that Shakespeare could, on occasion, produce inferior work, that he was, in his own time and practice, at least as much a businessman or theatre impresario as he was an artist. I have my favourite bits, as well as passages that, after this third read through the entire canon, I will probably never see again. It annoys me that, having read three different collected Shakespeares, my total texts read still stands at three. Must go in and add each individual text, I suppose. Oct 31, Bret James Stewart rated it it was amazing. Oceans of ink have been written about Shakespeare's works, so I see no reason to add my two pence. As to this edition, though, I have many good things to say. It is an academic edition, and I am please with the book for a number of reasons. First off, the book is attractive and well made. The hardcover is sturdy, the interior artwork is elucidating and fun, and the complete works are included, even the ones whose canonicity are only probable. Different scholars write the general and individual Oceans of ink have been written about Shakespeare's works, so I see no reason to add my two pence. Different scholars write the general and individual work introductions, which is nice as it adds variety and exposes the reader to different approaches and views of the works. The book is heavily glossed on the page where the text in question appears, which is great as you can simply look down to find the information. Most readers are not going to know all the nuances of Elizabethan English, so this glossing is vital to understanding ye olde utterances of The Bard. There are various appendices dealing with the stage history of the works, original source material, and timelines as well as a bibliography and selected glossary at the end. This book is my favourite by far of Shakespearean books in regard to completeness and reading aids. It also helps me get my exercise carrying it around the house as it clocks in at just over 2, pages. I read every one of them. You should, too. Regarding the plays, they are written to be performed and are best enjoyed, in my opinion, in performance combined with reading. I read first and after and have no preference myself as to which should be done first, but I definitely recommend both. I personally found the BBC versions of the plays to be great as they are Englishmen and talented. The videos are free on youtube. The BBC set out to do all the plays, which is great because you can watch some of the lesser performed works. Still, watch those you can. Then, read this wonderful text or vice-versa for a deeper enjoyment of these works; they really are timeless and worth the time necessary to invest in the experience. Dec 01, Keeko rated it it was amazing. Finished off with The life of King Henry the Eighth. I read it side by side with the Yale edition published in and edited by John M. Berdan and Tucker Brooke because I like how the Yale edition plays are published in individual 4" x 6" blue cloth-covered volumes that you can hold easily in your hands. People get all caught up in studying Shakespeare, and I think that sometimes that gets in the way of remembering that the reason he's lasted this long is because he's a wonderful storyteller. What I like about him is how I'll be reading him and there's the action, and the story all moving along, and then Blammo, his characters do something that is so completely true and right to the heart of how people think and act, and those moments are magical. Feb 28, R. But, almost all. Jun 25, Mia rated it did not like it. I sincerely disliked the format of this book. It was incredibly cumbersome. Additionally, the page formatting and location of textual notes interrupted my reading experience -- it was obtrusive and made reading Shakespeare more laborious than it has to be. I did enjoy the completeness of the volume, but feel that there must be a better reading experience for Shakespeare fans elsewhere. Jun 21, L. Dec 17, Nick rated it it was amazing Shelves: shelf , favorites. Every word in the Shakespeare canon has been read. Fuck yeah! Jan 28, Chad rated it really liked it Shelves: writing-argument-and-literature. An excellent compilation of criticism, history, and literature - a complete yet compact anthology with ample research aids and helpful bibliographies. Aug 23, Sherry Leclerc rated it it was amazing. I love Shakespeare. I loved this version of his work as well. I have always admired his ability to write his sonnets in iambic pentameter. I know that, these days, many writers of poetry like to write "train of thought" style, but I can't help but feel that there is a true art and mastery in giving oneself guidelines to work within and still ending up with something spectacular. Then there is also the beauty of the words on the page.
Load more

Recommended publications
  • ANNE BARTON Anne Barton 1933–2013
    ANNE BARTON Anne Barton 1933–2013 IN 1953 SHAKESPEARE QUARTERLY, then, as now, one of the two leading academic Shakespeare journals in the world, published an article concisely titled ‘Love’s Labour’s Lost’.1 The list of contributors identified the author as ‘Miss Bobbyann Roesen, a Senior at Bryn Mawr’, who ‘is the first under- graduate to contribute an essay to Shakespeare Quarterly. She attended the Shakespeare Institute at Stratford-upon-Avon in the summer of 1952 and hopes to pursue graduate studies in Renaissance literature at Oxford or Cambridge.’2 Looking back forty years later, the former Miss Roesen, now Anne Barton, had ‘a few qualms and misgivings’ about reprinting the article in a collection of some of her pieces. As usual, her estimate of her own work was accurate, if too modest: As an essay drawing fresh attention to a play extraordinarily neglected or mis- represented before that date, it does not seem to me negligible. Both its high estimate of the comedy and the particular reading it advances are things in which I still believe. But, however influential it may have been, it is now a period piece, written in a style all too redolent of a youthful passion for Walter Pater.3 Undoubtedly influential and far from negligible, the article not only continues to read well, for all its Paterisms, but also continues to seem an extraordinary accomplishment for an undergraduate. There is, through- out, a remarkable ability to close-read Shakespeare carefully and with sus- tained sensitivity, to see how the language is working on the page and how 1 Bobbyann Roesen, ‘Love’s Labour’s Lost’, Shakespeare Quarterly, 4 (1953), 411–26.
    [Show full text]
  • Making Shakespeare Accessible to the High School Student: a Study of Language and Relationships in Hamlet and the Taming of the Shrew
    Making Shakespeare Accessible to the High School Student: A Study of Language and Relationships in Hamlet and The Taming of the Shrew Virginia Kay Jones INTRODUCTION Having taught for over thirty years at an inner city high school, I have tried not only to shape my curriculum to my students‘ needs but also to make the study of British literature relevant to my students‘ lives. The teaching of Shakespeare is always a challenge. I have taught Romeo and Juliet, Julius Caesar, Macbeth, The Taming of the Shrew, A Midsummer Night’s Dream, and Hamlet—all with varying degrees of success. For the past few years, Hamlet has been my focal point for the spring semester of senior English. Although my students enjoy the play—often stating that it is the first Shakespearean play that they have liked—I feel that I can do more than what I am doing. By just reading and discussing a play, a student cannot appreciate the essence of the work. My students love language. They can improvise rap and create beautiful poetry with little prompting. However, they are afraid to tackle Shakespeare. I intend to design a unit that will make the study of Shakespeare more accessible to my students by helping them ―come to terms‖ with the language. My students also love to act, so I want to teach Shakespeare with a more performance-based approach. Additionally, I want to expose my students to Shakespearean comedy as well as tragedy. A unit designed around the theme of relationships (male-female, sibling, and parent-child) is the thread to connect Hamlet and The Taming of the Shrew and make them more relevant to today‘s students.
    [Show full text]
  • VII Shakespeare
    VII Shakespeare BRETT GREATLEY-HIRSCH, PETER J. SMITH, ELISABETTA TARANTINO, DOMENICO LOVASCIO, SHIRLEY BELL, CHRISTIAN GRIFFITHS, KATE WILKINSON, SHEILAGH ILONA O’BRIEN, AND LOUISE POWELL This chapter has three sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Criticism. Section 1 is by Brett Greatley- Hirsch; section 2 is by Peter J. Smith; section 3(a) is by Elisabetta Tarantino; section 3(b) is by Domenico Lovascio; section 3(c) is by Shirley Bell; section 3(d) is by Christian Griffiths; section 3(e) is by Kate Wilkinson; section 3(f) is by Sheilagh Ilona O’Brien; section 3(g) is by Louise Powell. 1. Editions and Textual Studies Readers will, I hope, forgive the relative brevity and narrow scope of this section as a necessary consequence of accepting the YWES brief three-quarters into the year. To avoid piecemeal, superficial treatment of the full range of this year’s offerings in Shakespearean textual studies, I limit my focus to a more manageable section of scholarship: studies in authorship attribution and the apocrypha. My discussion thus excludes a great deal of interesting and important work across a field whose vibrancy and rapid evolution is reflected by the range of topics brought together in Margaret Jane Kidnie and Sonia Massai’s Shakespeare and Textual Studies (CUP). My capacity as interim caretaker of this section similarly does not allow me to give the third edition of The Norton Shakespeare (Norton) and three impressive monographs — Laura Estill’s Dramatic Extracts in Seventeenth-Century English Manuscripts (UDelP), Judith Milhous and Robert D.
    [Show full text]
  • Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
    Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster ASSOCIATE GENERAL EDITOR A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood.
    [Show full text]
  • King Richard III: Updated Edition Edited by Janis Lull Frontmatter More Information
    Cambridge University Press 978-0-521-73556-8 - King Richard III: Updated Edition Edited by Janis Lull Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. KING RICHARD III King Richard III is one of Shakespeare’s most popular and frequently performed plays. Janis Lull’s introduction to this new edition, based on the First Folio, emphasises the play’s tragic themes – individual identity, determinism and choice – and stresses the importance of women’s roles in the play. It also underscores the special relationship between Richard III and Macbeth, demonstrating that the later tragedy re-examines issues raised in the earlier one. A thorough performance history of stage and film versions of Richard III shows how the text has been cut, rewritten and reshaped by directors and actors to enhance the role of Richard at the expense of other parts, especially those of the women. This updated edition contains a new introductory section covering recent criticism and performances – including the RSC cycles of the history plays – of this perennially popular play. The notes define the play’s language in terms easily accessible
    [Show full text]
  • Douglas Bruster
    DOUGLAS BRUSTER Mody C. Boatright Regents Professor in American and English Literature Distinguished Teaching Professor Department of English, 1 University Station B5000 The University of Texas at Austin Austin, Texas 78712-1164 512.471.3635 (Office) ● 512.550.3465 (Mobile) [email protected] CURRICULUM VITAE EDUCATION ______________________________________________________________________________ 1990 Harvard University Ph.D. (English) 1987 Harvard University M.A. (English) 1985 University of Nebraska B.A. (English, History, Latin) ______________________________________________________________________________ APPOINTMENTS ______________________________________________________________________________ 2009- The University of Texas at Austin 2008 Université de Paris X (visiting professor) 1999-2008 The University of Texas at Austin 1995-99 The University of Texas at San Antonio 1991-95 The University of Chicago 1990-91 Harvard University ______________________________________________________________________________ PUBLICATIONS ~ BOOKS _____________________________________________________________________________ v Shakespeare and the Power of Performance: Stage and Page in the Elizabethan Theatre. Cambridge: Cambridge University Press, 2008. With Robert Weimann. v To Be or Not To Be. London and New York: Continuum, 2007. v Prologues to Shakespeare’s Theatre: Performance and Liminality in Early Modern Drama. London and New York: Routledge, 2004. With Robert Weimann. v Shakespeare and the Question of Culture: Early Modern Literature
    [Show full text]
  • Arxiv:1610.05670V2 [Cs.CL] 3 Aug 2017
    Stylometric Analysis of Early Modern Period English Plays Mark Eisen1, Santiago Segarra2, Gabriel Egan3, and Alejandro Ribeiro1 1Dept. of Electrical and Systems Engineering, University of Pennsylvania, Philadelphia, USA 2Inst. for Data, Systems, and Society, Massachusetts Institute of Technology, Cambridge, USA 3School of Humanities, De Montfort University, Leicester, UK Editor: Abstract Function word adjacency networks (WANs) are used to study the authorship of plays from the Early Modern English period. In these networks, nodes are function words and directed edges between two nodes represent the relative frequency of directed co-appearance of the two words. For every analyzed play, a WAN is constructed and these are aggregated to generate author profile networks. We first study the similarity of writing styles between Early English playwrights by comparing the profile WANs. The accuracy of using WANs for authorship attribution is then demonstrated by attributing known plays among six popular play- wrights. Moreover, the WAN method is shown to outperform other frequency-based methods on attributing Early English plays. In addition, WANs are shown to be reliable classifiers even when attributing collaborative plays. For several plays of disputed co-authorship, a deeper analysis is performed by attributing every act and scene separately, in which we both corroborate existing breakdowns and provide evidence of new assignments. 1 Introduction Stylometry involves the quantitative analysis of a text’s linguistic features in order to gain further insight into its underlying elements, such as authorship or genre. Along with common uses in digital forensics (De Vel et al., 2001; Stamatatos, 2009) and plagiarism detection (Meuschke and Gipp, 2013), stylometry has also become the primary method for evaluating authorship disputes in historical texts, such as the Federalist papers arXiv:1610.05670v2 [cs.CL] 3 Aug 2017 (Mosteller and Wallace, 1964; Holmes and Forsyth, 1995) and the Mormon scripture (Holmes, 1992), in a field called authorship attribution.
    [Show full text]
  • The Forty-First Annual Region III Festival 2009 Illinois, Indiana
    The Forty-first Annual Region III Festival 2009 ynes H Jason Jason : y b esigned D Illinois, Indiana, Michigan, Ohio, Wisconsin January 6 to 11, 2009 Hosted by Saginaw Valley State University Presented and Produced by The John F. Kennedy Center for the Performing Arts The Kennedy Center American College Theater Festival is sponsored by Delta Air Lines Additional support is provided by: The U.S. Department of Education Dr. and Mrs. Gerald McNichols The Laura Pels International Foundation The Kennedy Center Corporate Fund The National Committee for the Performing Arts Region III 41st Kennedy Center American College Theater Festival 1 2009 Festival Productions The Seagull by Anton Chekhov, translated by Jean-Claude van Itallie Purdue University Chekhov’s monumental masterpiece of unrequited love, failed ambition and the changing face of Russian theatre is presented here within a theatrical world of heightened realism and vivid metaphor. Mobile aquariums, the color TV of 1890’s Russia, white period furniture floating on a high gloss black floor, cascading light bulbs, a heightened Edwardian fashion sensibility and Gypsy music all pay homage to Chekhov’s own desire to have symbol and metaphor more fully represent the world of his plays. FRIDAY, JANUARY 9 8:00 PM Temple Theatre How I Learned to Drive The Trojan Women by Paula Vogel by Euripides, adapted by Ellen McLaughlin University of Michigan-Flint Oakland University “How I Learned to Drive” unfolds with all the slow motion clarity of an impend- The Women of Troy struggle with the aftermath of war and destruction of ing car crash as we witness the social dynamic that exposes a young girl to the sys- their beloved homeland.
    [Show full text]
  • The Shakespeare Apocrypha and Canonical Expansion in the Marketplace
    The Shakespeare Apocrypha and Canonical Expansion in the Marketplace Peter Kirwan 1 n March 2010, Brean Hammond’s new edition of Lewis Theobald’s Double Falsehood was added to the ongoing third series of the Arden Shakespeare, prompting a barrage of criticism in the academic press I 1 and the popular media. Responses to the play, which may or may not con- tain the “ghost”2 of Shakespeare and Fletcher’s Cardenio, have dealt with two issues: the question of whether Double Falsehood is or is not a forgery;3 and if the latter, the question of how much of it is by Shakespeare. This second question as a criterion for canonical inclusion is my starting point for this paper, as scholars and critics have struggled to define clearly the boundar- ies of, and qualifications for, canonicity. James Naughtie, in a BBC radio interview with Hammond to mark the edition’s launch, suggested that a new attribution would only be of interest if he had “a big hand, not just was one of the people helping to throw something together for a Friday night.”4 Naughtie’s comment points us toward an important, unqualified aspect of the canonical problem—how big does a contribution by Shakespeare need to be to qualify as “Shakespeare”? The act of inclusion in an editedComplete Works popularly enacts the “canonization” of a work, fixing an attribution in print and commodifying it within a saleable context. To a very real extent, “Shakespeare” is defined as what can be sold as Shakespearean. Yet while canonization operates at its most fundamental as a selection/exclusion binary, collaboration compli- cates the issue.
    [Show full text]
  • Macbeth Study Guide
    Sacramento Theatre Company Study Guide Macbeth By: William Shakespeare Study Guide Materials Compiled by Anna Miles 1 Sacramento Theatre Company Mission Statement The Sacramento Theatre Company (STC) strives to be the leader in integrating professional theatre with theatre arts education. STC produces engaging professional theatre, provides exceptional theatre training, and uses theatre as a tool for educational engagement. Our History The theatre was originally formed as the Sacramento Civic Repertory Theatre in 1942, an ad hoc troupe formed to entertain locally-stationed troops during World War II. On October 18, 1949, the Sacramento Civic Repertory Theatre acquired a space of its own with the opening of the Eaglet Theatre, named in honor of the Eagle, a Gold Rush-era theatre built largely of canvas that had stood on the city’s riverfront in the 1850s. The Eaglet Theatre eventually became the Main Stage of the not-for-profit Sacramento Theatre Company, which evolved from a community theatre to professional theatre company in the 1980s. Now producing shows in three performance spaces, it is the oldest theatre company in Sacramento. After five decades of use, the Main Stage was renovated as part of the H Street Theatre Complex Project. Features now include an expanded and modernized lobby and a Cabaret Stage for special performances. The facility also added expanded dressing rooms, laundry capabilities, and other equipment allowing the transformation of these performance spaces, used nine months of the year by STC, into backstage and administration places for three months each summer to be used by California Musical Theatre for Music Circus.
    [Show full text]
  • A Response to W. Ron Hess,“Shakespeare’S Dates: Their Effect on Stylistic Analysis”
    CAN THE OXFORD CANDIDACY BE SAVED? A Response to W. Ron Hess,“Shakespeare’s Dates: Their Effect on Stylistic Analysis” Ward E.Y. Elliott and Robert J. Valenza ❦ There is a differency between a grub and a butterfly, yet your butterfly was a grub. Coriolanus: 5:4.12 LD-SCHOOL Oxfordians still fondly remember the trick that Oxfordian scholar Louis Benezet, Sr. liked to play on Stratfordian English Lit pro- fessors in the 1940’s. He would give them a seventy-line mixture of pas- sages from Shakespeare and Oxford, defy them to tell one author from the other, find they had great trouble in doing so, and conclude that his experiment showed their styles to be barely distinguishable.1 Much has changed since those days. In 1980, Steven May (79-84) showed from external evidence (and over Charlton Ogburn, Jr.’s objections that “he is unconcerned with stylistic criteria” [396]) that some of the passages Benezet thought were Oxford’s were in fact written by Robert Greene, and that five other poems confidently assigned to Oxford by J.T. Looney and other Oxfordian scholars (following A.B. Grosart), were not Oxford’s work. In 1987, our students in the Claremont Shakespeare Clinic, sponsored by the Sloan Foundation and the Shakespeare Authorship Roundtable, began what became a seven-year computer study of all testable Shakespeare claimants, to see which, if any, matched Shakespeare. For the first two years the tests were favorable to Oxford, attracting much inter- est among Oxfordians and warm invitations to present our results to Oxfordian audiences.
    [Show full text]
  • 7Th Annual De Vere Studies Conference Shakespeare Question Debated at Smithsonian
    Vol.2:no.4 "Let me not to the marriage of true minds admit impediments..." Summer 2003 Shakespeare 7th Annual De Vere question debated Studies Conference Attendees treated to new at Smithsonian insights and breaking news By Peter Rush By Peter Rush he 2003 Edward de Vere n April 19 the Smithsonian Institution sponsored a day- Studies Conference in long debate pitting three prominent Stratfordian scholars TPortland, Oregon proved Oagainst three noted Oxfordian experts. It was one of—if not to be one of the best in its seven- the—best such debate that this reviewer is aware of. The right year history. Over the course of people were in the room, lots of important issues were raised and three days of papers and panel responded to by both sides, and each side had the opportunity to discussions, some ground- “throw its best stuff” at the other’s strongest arguments. I believe breaking research was pre- that the preponderance of strong, unrefuted arguments was made sented, and in a few cases, news by the Oxfordians, and that the Stratfordians left many crucial was made. Several of the most arguments unanswered, while the Stratfordians strongest suit was newsworthy stories involved the a number of assertions—drawn largely from Alan Nelson’s forth- authorship debate itself and in- coming biography of Oxford—for which “proof” was promised, formation of interest to all and should be demanded. The result was that—unlike some other Shakespeareans. The biggest news of the debates—we were not left standing on “square one,” but rather the Prof.
    [Show full text]