Surveying the development and varieties of blank verse in the English playhouses, this book is a natural history of iambic pentameter in English. The main aim of the book is to analyze the evolution of Renaissance dramatic poetry. Shakespeare is the central figure of the research, but his predecessors, contemporaries and followers are also important: Shakespeare, the author argues, can be fully understood and appreciated only against the background of the whole period. Tarlinskaja surveys English plays by Elizabethan, Jacobean and Caroline playwrights, from Norton and Sackville’s Gorboduc to Sirley’s The Cardinal. Her analysis takes in such topics as what poets treated as a syllable in the 16th-17th century metrical verse, the particulars of stressing in iambic pentameter texts, word boundary and syntactic segmentation of verse lines, their morphological and syntactic composition, syllabic, accentual and syntactic features of line endings, and the way Elizabethan poets learned to use verse form to enhance meaning. She uses statistics to explore the attribution of questionable Elizabethan and Jacobean plays, and to examine several still-enigmatic texts and collaborations. Among these are the poem A Lover's Complaint, the anonymous tragedy Arden of Faversham, the challenging Sir Thomas More, the later Jacobean comedy The Spanish Gypsy, as well as a number of Shakespeare’s co-authored plays. Her analysis of versification offers new ways to think about the dating of plays, attribution of anonymous texts, and how collaborators divided their task in co-authored dramas.

Shakespeare's Blank Verse: An Alternative History is a study both of Shakespeare's versification and of its place in the history of early modern blank verse (unrhymed iambic pentameter). It ranges from the continental precursors of English blank verse in the early sixteenth century through the drama and poetry of Shakespeare's contemporaries to the editing of blank verse in the eighteenth century and beyond. Alternative in its argumentation as well as its arguments, Shakespeare's Blank Verse tries out fresh ways of thinking about meter—by shunning doctrinaire methods of apprehending a writer's versification, and by reconnecting meter to the fundamental literary, dramatic, historical, and social questions that animate Shakespeare's drama.

The Shakespearean World takes a global view of Shakespeare and his works, especially their afterlives. Constantly changing, the Shakespeare central to this volume has acquired an array of meanings over the past four centuries. "Shakespeare" signifies the historical person, as well as the plays and verse attributed to him. It also signifies the attitudes towards both author and works determined by their receptions. Throughout the book, specialists aim to situate Shakespeare’s world and what the world is because of him. In adopting a global perspective, the volume arranges thirty-six chapters in five parts: Shakespeare on stage internationally since the late seventeenth century; Shakespeare on film throughout the world; Shakespeare in the arts beyond drama and performance; Shakespeare in everyday life; Shakespeare and critical practice. Through its coverage, The Shakespearean World offers a comprehensive transhistorical and international view of the ways this Shakespeare has not only influenced but has also been influenced by diverse cultures during 400 years of performance, adaptation, criticism, and citation. While each chapter is a freshly conceived introduction to a significant topic, all of the chapters move beyond the level of survey, suggesting new directions in Shakespeare studies – such as ecology, tourism, and new media – and making substantial contributions to the field. This volume is an essential resource for all those studying Shakespeare, from beginners to advanced specialists.

First published in 1948, this book may be described as Dame Edith Sitwell's personal notebook. It consists of essays on the subject of the general aspect of the plays-those great hymns to the principle and the glory of life, in which there are the same differences in nature, in matter, in light, in darkness, in movement, that we find in the universe, and in which the characters are so vast they seem each an element (Water, Hamlet; Air, Romeo and Juliet; Fire, King Lear) and which yet bear the stamp of our common humanity, made greater and more universal. There are long essays on King Lear, Macbeth, Othello and Hamlet. Dame Edith believes, with all humility, that she has discovered new sources of the inspiration of King Lear, throwing a new light on the whole play, and giving new meanings to the mad scenes, of an unsurpassable grandeur, depth, and terror. There are shorter essays also on other of the tragedies. The keynotes of many of the plays are examined (not all the plays are discussed), a phrase is studied and will be found to hold the whole meaning of the play. There are essays on many of the comedies, and long passages about the Fools and Clowns. Connecting levels are traced between the philosophies of the plays. There are, too, running commentaries on Shakespeare as that ' common-kissing Titan ', and, since the book is a personal notebook, the author makes copious quotations from the writings of Shakespearean scholars who have thrown light on the various aspects of which she treats, and from works on other subjects which also serve to illumine his mighty and many-sided genius. "Her reading is deep and personal; possibly nobody has ever read Shakespeare with an ear more sensitive to every sound and cadence." -Chicago Daily Tribune

Contains forty original essays.