The spellbinding conclusion to the brilliant fantasy series by the author of The Mirador and Mélusine. Exiled from Mélusine for the crime of heresy, the once powerful Cabaline wizard Felix Harrowgate and his half-brother Mildmay, former cat-burglar and assassin, journey to Corambis to face judgment from a ruling body of wizards. Corambis, however, is a land plagued by civil strife. Kay Brightmore, the Margrave of Rothmarlin, is part of an insurrection to restore the monarchy in the southern half of the country. In desperation, Kay and his rebels seek out the engine of Summerdown, an ancient magical device rumored to have terrible powers. Once the engine is awakened, only a powerful wizard can stop its awesome potential for destruction. Felix and Mildmay arrive just in time for their greatest challenge-and ultimate destiny...

"While differences among the three early texts of Hamlet have been considered in terms of interpretive consequences, The Hamlets instead considers practical issues in the playhouses of early modern London. It examines how Shakespeare's company operated, how they may have treated the authorial text, what the actor's needs might have been, and how the three texts may be manifestations of the play's life in the theater. By studying cue-line variation in the three texts, the book introduces a unique method of analysis and constructs for Hamlet a new narrative of authorial, textual, and playhouse practices that challenges the customary assumptions about the transmission of Shakespeare's most textually troubling play."--BOOK JACKET.

The first quarto of Hamlet is radically different from the second quarto and Folio versions of the play, and about half their length. But despite its uneven verbal texture and simpler characterisation, the first quarto presents its own workable alternatives to the longer texts, reordering and combining key plot elements, and even including a unique scene between Horatio and the Queen. This new critical edition is designed for students, scholars and actors who are intrigued by the first printed text of Shakespeare's Hamlet. Although the first quarto has been reprinted many times, there is no other modernised edition in print. Irace's introduction outlines views of its origins, its special features, and its surprisingly rich performance history; her textual notes point out differences between the first quarto and the longer second quarto and Folio versions and offer alternatives which actors or directors might choose for specific productions.

Outlining the full range of practises that publishers performed, including the acquisition of copy and titles, compiling, alteration to texts, and reissuing, Elizabethan Publishing and the Makings of Literary Culture considers links between the book trade and the literary culture of Elizabethan England.

In this revised and greatly expanded edition of the Companion, 80 scholars come together to offer an original and far-reaching assessment of English Renaissance literature and culture. A new edition of the best-selling Companion to English Renaissance Literature, revised and updated, with 22 new essays and 19 new illustrations Contributions from some 80 scholars including Judith H. Anderson, Patrick Collinson, Alison Findlay, Germaine Greer, Malcolm Jones, Arthur Kinney, James Knowles, Arthur Marotti, Robert Miola and Greg Walker Unrivalled in scope and its exploration of unfamiliar literary and cultural territories the Companion offers new readings of both ‘literary’ and ‘non-literary’ texts Features essays discussing material culture, sectarian writing, the history of the body, theatre both in and outside the playhouses, law, gardens, and ecology in early modern England Orientates the beginning student, while providing advanced students and faculty with new directions for their research All of the essays from the first edition, along with the recommendations for further reading, have been reworked or updated

William Shakespeare's most famous play is solved for the first time. By presenting the play as it would have been originally performed on stage at the Globe Theatre, we may understand what the play really says, and finally discover the identity of Hamlet.

Medieval and Renaissance Drama in England is an annual volume committed to the publication of essays and reviews related to English drama and theater history to 1642. An internationally recognized board of scholars oversees the publication of MaRDiE. Readers who wish to deepen their understanding of early drama will find that the journal publishes wide-ranging discussions not only of plays and early performance history, but of topics pertaining to cultural history, as well as manuscript studies and the history of printing.

Long before William Shakespeare, tales were told of the Dane Ameleth whose noble father was murdered by the uncle who swiftly weds new widow Gerutha. Must Ameleth repay this crime by killing his uncle? The White Abacus dares to reconfigure the best known version of the classic tale, Shakespeare's Hamlet, to create a futuristic revenge drama with an entirely different outcome. Telmah is an inventive genius. Ophelia is no sobbing suicide but rather the impressive Warrior Rose, who shockingly revises the fate of her lover. In this exotic future history, the galaxy is open to anyone who passes through a hex gate, whether hu (augmented human) or ai (artificial mind). Telmah's close friend is the ai Ratio, newly embodied to the Real. Like all members of his asteroid tribe, Telmah is forbidden to use the hex transport system, since that would doom his rebirth. Out of this agonizing dilemma comes a feverish pursuit of truth and duty, love and near-madness, in an endlessly startling future where nothing turns out the way you expect.

Recent studies in early modern cultural bibliography have put forth a radically new Shakespeare—a man of keen literary ambition who wrote for page as well as stage. His work thus comes to be viewed as textual property and a material object not only seen theatrically but also bought, read, collected, annotated, copied, and otherwise passed through human hands. This Shakespeare was invented in large part by the stationers—publishers, printers, and booksellers—who produced and distributed his texts in the form of books. Yet Shakespeare's stationers have not received sustained critical attention. Edited by Marta Straznicky, Shakespeare's Stationers: Studies in Cultural Bibliography shifts Shakespearean textual scholarship toward a new focus on the earliest publishers and booksellers of Shakespeare's texts. This seminal collection is the first to explore the multiple and intersecting forms of agency exercised by Shakespeare's stationers in the design, production, marketing, and dissemination of his printed works. Nine critical studies examine the ways in which commerce intersected with culture and how individual stationers engaged in a range of cultural functions and political movements through their business practices. Two appendices, cataloguing the imprints of Shakespeare's texts to 1640 and providing forty additional stationer profiles, extend the volume's reach well beyond the case studies, offering a foundation for further research.