An original account of the reception and influence of Shakespeare's Sonnets in his own time and in later literary history.

Why did no one read Sonnet 18 for over one hundred years? What traumatic memories did Sonnet 111 conjure up for Charles Dickens? Which Sonnet did Wilfred Owen find particularly offensive on the WW1 battlefront? What kind of love does Sonnet 116 celebrate and why? Filling a surprising gap in Shakespeare studies, this book offers a challenging new reception history of the Sonnets and explores their belated entry into the Shakespeare canon. Jane Kingsley-Smith reveals the fascinating cultural history of individual Sonnets, identifying those which were particularly influential and exploring why they rose to prominence. This is a highly original study which argues that we should redirect our attention away from the story that the Sonnets tell as a sequence, to the fascinating afterlife of individual Shakespeare Sonnets.

Analyzes all of Shakespeare's sonnets in terms of their poetic structure, semantics, and use of sounds and images.

This Companion provides a full introduction to the poetry of William Shakespeare through discussion of his freestanding narrative poems, the Sonnets, and his plays. Fourteen leading international scholars provide accessible and authoritative chapters on all relevant topics: from Shakespeare's seminal role in the development of English poetry, the wide-ranging practice of his poetic form, and his enigmatic place in print and manuscript culture, to his immersion in English Renaissance politics, religion, classicism, and gender dynamics. With individual chapters on Venus and Adonis, The Rape of Lucrece, The Passionate Pilgrim, 'The Phoenix and the Turtle', the Sonnets, and A Lover's Complaint, the Companion also includes chapters on the presence of poetry in the dramatic works, on the relation between poetry and performance, and on the reception and influence of the poems. The volume includes a chronology of Shakespeare's life, a note on reference works, and a reading list for each chapter.

Examines representations of Anne Hathaway from the eighteenth century to contemporary portrayals in theatre, biographies and novels.

Canonising Shakespeare offers the first comprehensive reassessment of Shakespeare's afterlife as a print phenomenon, demonstrating the crucial role that the book trade played in his rise to cultural pre-eminence. 1640–1740 was the period in which Shakespeare's canon was determined, in which the poems resumed their place alongside the plays in print, and in which artisans and named editors crafted a new, contemporary Shakespeare for Restoration and eighteenth-century consumers. A team of international contributors highlight the impact of individual booksellers, printers, publishers and editors on the Shakespearean text, the books in which it was presented, and the ways in which it was promoted. From radical adaptations of the Sonnets to new characters in plays, and from elegant subscription volumes to cheap editions churned out by feuding publishers, this period was marked by eclecticism, contradiction and innovation as stationers looked to the past and the future to create a Shakespeare for their own times.

"Bervin shows us ways in which we might open up pre- or over-determined uses of past structures without erasing them--making the poems all the more complex by their refusal to dislocate. Her Nets is context responsive and responsible, without the knot of lyric-envy and linguistic guilt of many contemporary poems that pillage the past for strangeness, or worse, for an energetic imagination that might impersonate the writer's. --Christine Hume, Aufgabe. Process note from Jen Bervin: "I stripped Shakespeare's sonnets bare to the 'nets' to make the space of the poems open, porous, possible--a divergent elsewhere. When we write poems, the history of poetry is with us, pre-inscribed in the white of the page; when we read or write poems, we do it with or against this palimpsest."

"To be both visionary and accurate, true to physics and metaphysics at the same time, is rare and puts the poet in some rarefied company. Black, like a few other younger poets, is willing to include all the traditional effects of the lyric poem in his work, but he has set them going in new and lively ways, with the confidence of virtuosity and a belief in the ancient pleasures of pattern and repetition."—Mark Jarman, American Poet Lush and daring, Malachi Black's poems in Storm Toward Morning press all points along the spectrum of human positions, from sickness, isolation, and insomniac disarray to serenity, wonder, and spiritual yearning. Pulsing at the intersections of "eye and I," body and mind, physical and metaphysical, Black brings distinctive voice, vision, and music to matters of universal mortal concern. Query on Typography What is the light inside the opening of every letter: white behind the angles is a language bright because a curvature of space inside a line is visible is script a sign of what it does or does not occupy scripture the covenant of eye and I with word or what the word defines which is source and which is shrine the light of body or the light behind? Malachi Black holds a BA in literature from New York University and an MFA in creative writing from the University of Texas at Austin’s Michener Center for Writers. His poems have appeared in AGNI, Boston Review, Ploughshares, and Poetry. He currently teaches at the University of San Diego and lives in California.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 73 is 'Shakespeare and the City'. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.

From the entry of Shakespeare's birth in the Stratford church register to a Norwegian production of Macbeth in which the hero was represented by a tomato, this enthralling and splendidly illustrated book tells the story of Shakespeare's life, his writings, and his afterlife. Drawing on a lifetime's experience of studying, teaching, editing, and writing about Shakespeare, Stanley Wells combines scholarly authority with authorial flair in a book that will appeal equally to the specialist and the untutored enthusiast. Chapters on Shakespeare's life in Stratford and in London offer a fresh view of the development of the writer's career and personality. At the core of the book lies a magisterial study of the writings themselves--how Shakespeare set about writing a play, his relationships with the company of actors with whom he worked, his developing mastery of the literary and rhetorical skills that he learned at the Stratford grammar school, the essentially theatrical quality of the structure and language of his plays. Subsequent chapters trace the fluctuating fortunes of his reputation and influence. Here are accounts of adaptations, productions, and individual performances in England and, increasingly, overseas; of great occasions such as the Garrick Jubilee and the tercentenary celebrations of 1864; of the spread of Shakespeare's reputation in France and Germany, Russia and America, and, more recently, the Far East; of Shakespearian discoveries and forgeries; of critical reactions, favorable and otherwise, and of scholarly activity; of paintings, music, films and other works of art inspired by the plays; of the plays' use in education and the political arena, and of the pleasure and intellectual stimulus that they have given to an increasingly international public. Shakespeare, said Ben Jonson, was not of an age but for all time. This is a book about him for our time.