Recommended Shakespeare Editions: Arden, Oxford, and Cambridge

This page contains my recommendations for critical, annotated editions of Shakespeare’s plays, followed by a selection of my favorite criticism. Almost all of the plays have enough references and ambiguities that it’s worth having a knowledgeable guide to consult with and to agree and disagree with. I don’t claim to be an expert, just an informed amateur with an interest in the Renaissance background of the plays and the history of the English language. By and large, there are three or four options for those who want heavy-duty apparatus with their Shakespeare:

  1. Arden Shakespeare (3rd Edition)
  2. New Cambridge Shakespeare
  3. Oxford Shakespeare
  4. Arden Shakespeare (2nd Edition)

None of the four are consistent. Oxford editions in particular sometimes fall prey to the evanescent trends of their time, which is a problem given that most date from the 80s and 90s. Cambirdge was for a time pitched at a student audience and so its editions tended to be less comprehensive than the others, but again, not consistently so. I’ve made these choices based on a number of factors:

  • More recent editions are preferable, to take into account newer scholarship. Frank Kermode’s Arden2 edition of The Tempest is superb and was incredibly influential, but it is from 1955.
  • The editor should not have an ideological axe to grind or slant the apparatus to the exclusion of other points of view. John Drakakis’s Arden3 Merchant of Venice, for example, pushes its viewpoint incessantly.
  • Authorial attribution should match the current scholarly consensus as best it can. Only Suzanne Gossett’s Arden3 Pericles takes note of the rather important fact that Shakespeare didn’t write the first two acts (George Wilkins did).
  • Philology is better than theory.
  • The editor’s other scholarship should be reasonably trustworthy and non-extreme.
  • And general quality, intelligence, accessibility, taste, comprehensiveness, etc.

Some plays, like 2 Henry IV and The Tempest, have been generally fortunate in their editors. Others less so. I’ve left out plays that I can’t quite muster an interest in, like Sir Thomas More. I may add them to this page at some later point if I arrive at an opinion. Amazon has made an absolute hash of its pages for the plays, collapsing multiple editions into a single result, mixing up editors’ names, and adding in dozens of worthless editions by fake publishers. I’ve linked to the editions by ISBN, so these links should take you to the right page.

Tragedies


Titus Andronicus: Jonathan Bate (Arden3)

Titus Andronicus (Arden Shakespeare: Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Bate subsequently accepted co-authorship by George Peele, so this edition could use an update (due in 2018, apparently), but Bate is still trustworthy on this formerly underrated and now overrated play.


Romeo and Juliet: Rene Weis (Arden3)

Romeo And Juliet: Third Series (Arden Shakespeare)
William Shakespeare
Bloomsbury Arden Shakespeare

Weis is thoroughly competent and comprehensive.


Julius Caesar: David Daniell (Arden3)

Julius Caesar (Arden Shakespeare)
William Shakespeare
Bloomsbury Arden Shakespeare

Daniell brings an unusual passion and intensity to his introduction and commentary that may be too much for some people. I find it suits me, but otherwise A. R. Humphreys (Oxford) is excellent as well, though far more subdued.


Hamlet: Harold Jenkins (Arden2)

Jenkins tries very hard to be definitive and exhaustive, which has its benefits and downsides. I disagree with many of his interpretive arguments, but he makes them honestly, and it’s hard to match the breadth of the coverage, so this monument to 20th century scholarship is still my preferred choice. Thompson & Taylor (Arden3) fall into the textual ratholes that plagued Shakespeare studies in the 80s and 90s, separating out Quarto and Folio to the detriment of enjoyment and rejecting emendations needed for the text to even make sense. Ironically, they also dumb down the commentary too much in the process.


Troilus and Cressida: David Bevington (Arden3)

Bevington is one of the most steady and reliable of editors, and he is characteristically judicious on this very problematic (in every regard) play.


Othello: E. A. J. Honigmann (Arden3)

Othello (Arden Shakespeare: Third Series)
William Shakespeare
Arden Shakespeare

Honigmann is solid. Arden have put out a “revised” version that substitutes a new introduction by Ayanna Thompson without revising Honigmann’s text and notes at all. This sort of laziness and tampering (Honigmann died in 2011) shouldn’t be encouraged. Othello still awaits an edition that is deeply perceptive on issues of sexuality and race. Pre-Honigmann editions are vaguely tone-deaf on thee matters, while Neill (Oxford) appeals far too much to the play’s legacy rather than to the text itself, the wrong approach for a scholarly edition, and his readings and emendations veer toward the eccentric.


King Lear: Kenneth Muir (Arden2) / Rene Weis (Routledge)

King Lear (The Arden Shakespeare)
William Shakespeare
Methuen

I don’t have an ideal choice here. King Lear was the subject of a pointless controversy about “the two King Lears” in the 1980s that resulted in a lot of academic bickering over whether the fairly similar Quarto and Folio versions of Lear should be treated as two separate entities as opposed to different working texts of a single play. Sanity eventually won out, but not before several recent editions were plagued by incredibly poor editorial judgment. Muir’s Arden2 edition, originally from 1950 and revised in 1972, still seems to me the best choice despite its age. The adequate Foakes (Arden3) edition uses somewhat distracting superscript to differentiate Folio and Quarto sections, and I find his commentary less insightful than Muir’s. Weis’ parallel-text edition prints the Quarto and the Folio on opposing pages, but it’s far more expensive and the parallel-text is overkill for all but diehards.


Macbeth: Sandra Clark & Pamela Mason (Arden3)

Macbeth: Third Series (The Arden Shakespeare Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Clark (working from Mason’s text) delivers a solid, comprehensive and up-to-date edition, one of the best of the recent Ardens. Preferable to the okay but more tendentious Braunmuller (Cambridge) and the inconsistent Brooke (Oxford).


Timon of Athens: Anthony Dawson & Gretchen Minton (Arden3)

Timon of Athens: Third Series (Arden Shakespeare)
William Shakespeare
Bloomsbury Arden Shakespeare

Dawson & Minton do a capable job while taking note of Middleton’s heavy involvement in the writing of the play, which makes most older editions unsuitable.


Antony and Cleopatra: David Bevington (Cambridge)

Antony and Cleopatra (The New Cambridge Shakespeare)
William Shakespeare
Cambridge University Press

John Wilders (Arden3) is excellent but Bevington has the edge for comprehensiveness and insight.


Coriolanus: Philip Brockbank (Arden2)

Coriolanus (Arden Shakespeare: Second Series)
William Shakespeare
Arden Shakespeare

Brockbank does an exceptional job, and his 1976 edition hasn’t been surpassed. R. B. Parker (Oxford) is pretty good but sometimes gets mired in psychoanalytic interpretations of what is still a political play, and I find Peter Holland (Arden3) a trifle superficial in comparison to Brockbank.

Histories


1 Henry VI: Edward Burns (Arden3)

King Henry VI Part 1 (Arden Shakespeare: Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Burns is one of the few editors to take into account the play’s nightmarishly complicated authorship, which involves Thomas Nashe and probably at least one other person. I haven’t looked too much into the other two Henry VI plays, but the Arden3s look respectable there as well.


Richard III: James R. Siemon (Arden3)

King Richard III: Third Series (Arden Shakespeare)
William Shakespeare
Bloomsbury Arden Shakespeare

Siemon does a strong, cautious job of sorting through the many textual problems of this play.


King John: A. R. Braunmuller (Oxford)

King John: The Oxford Shakespeare (Oxford World’s Classics)
William Shakespeare
Oxford University Press

Braunmuller can be quirky, but I’d rate him the best choice on this, slightly over the steady Honigmann (Arden2) and the sparser Beaurline (Cambridge), who both think the play was written far earlier than it feels to me.  The forthcoming Arden3 by John Tobin and Jesse Lander looks promising.


Richard II: Charles R. Forker (Arden3)

King Richard II (Arden Shakespeare: Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Forker is superb and meticulous on this underrated (though slow) history.


1 Henry IV: David Bevington (Oxford)

The indefatigable Bevington beats out the pretty good David Scott Kastan (Arden3).


2 Henry IV: James C. Bulman and George Walton Williams (Arden3)

King Henry IV Part 2: Third Series (The Arden Shakespeare Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

The textual situation of 2 Henry IV is a mess, but previous meticulous editors like A. R. Humphreys (Arden2) and Rene Weis (Oxford) arrived at a general consensus which Bulman and Williams generally respect. Bulman is credited as sole editor, but associate editor Williams’ hand weighs heavily enough here that I’m co-crediting him. I’m not certain if they’ve truly improved on their excellent predecessors, but in the absence of a clear favorite, theirs is the most recent.


Henry V: Andrew Gurr (Cambridge)

King Henry V (The New Cambridge Shakespeare)
William Shakespeare
Cambridge University Press

T. W. Craik (Arden3) does a very fine job, but Gurr is more authoritative and in my opinion more interesting on a not-always-interesting play. Taylor (Oxford) suffers from “shocking, drastic editorial revision,” in Lisa Jardine’s words, and is untrustworthy.


Henry VIII: Jay Halio (Oxford)

I’m told Halio’s edition is reliable.

Romances


Pericles: Suzanne Gossett (Arden3)

Pericles (Arden Shakespeare: Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Gossett alone deals with the attribution question well, and does a fine job otherwise.


Cymbeline: John Pitcher (Penguin) / Valerie Wayne (Arden3)

Cymbeline (Penguin Shakespeare)
William Shakespeare
Penguin UK

Cymbeline: Third Series (The Arden Shakespeare Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Not wholly thrilled with any of the options here. John Pitcher did the British Penguin edition and I wish he’d been given one of the scholarly editions, as I find him more sensible and enlightening than the other editors. Of the others, Wayne seems the most reliable to me, but is simultaneously too theoretical and too populist, name-dropping both Harry Potter and Judith Butler. Warren (Oxford) and Butler (Cambridge) fall prey to some of the revisionist excesses of the Oxford school.


The Winter’s Tale: John Pitcher (Arden3)

The Winter’s Tale: Third Series (Arden Shakespeare)
William Shakespeare
Bloomsbury Arden Shakespeare

Pitcher has a clear affection for this weird play, and it makes this edition quite endearing.


The Tempest: David Lindley (Cambridge)

The Tempest (The New Cambridge Shakespeare)
William Shakespeare
Cambridge University Press

The Vaughans (Arden3) are okay but a bit dreary in comparison to the more lively Lindley. Kermode (Arden2) is still worth a look.


The Two Noble Kinsmen: Eugene Waith (Oxford)

The Two Noble Kinsmen (The Oxford Shakespeare)
William Shakespeare
Clarendon Press

Not really a romance, but since the term is just for convenience, I’ll leave it here. This edition comes recommended to me.

Comedies


The Taming of the Shrew: Brian Morris (Arden2)

You can’t win with this one. If you defend it like Hodgdon (Arden3), it comes off as special pleading. If you excoriate it like Ann Thompson (Cambridge), it feels redundant. I think Morris has the most interesting things to say about it, while throwing up his hands over the difficulties of the play’s sexism. At least it’s not…


The Two Gentlemen of Verona: Clifford Leech (Arden2)

The Two Gentlemen of Verona (Arden Shakespeare Second)
William Shakespeare
Arden Shakespeare

The scene where Valentine “gives” his girlfriend to the man who just tried to rape her is indefensible, and Dover Wilson summed it up in 1921 by saying, “One’s impulse, upon this declaration, is to remark that there are, by this time, no gentlemen in Verona.” Leech is the best editor the play has had.


The Comedy of Errors: Kent Cartwright (Arden3)

The Comedy of Errors: Third Series (The Arden Shakespeare Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Kent Cartwright has more enthusiasm for this early comedy than I thought it was capable of mustering. He overloads it with more significance than it can bear, but he seems to know his stuff.


Love’s Labour’s Lost: R. W. David (Arden2)

Very academic comedy demands very academic glossing, so go for Arden2, though be skeptical of David’s idiosyncratic interpretation. Hibbard’s (Oxford) no-nonsense edition is more up to date and seems fine, though this is not a play I have a huge interest in. The painstaking Woudhuysen (Arden3) is very, very textually focused and definitely worthy for specialists. Carroll (Cambridge) is far too psychoanalytically focused.


A Midsummer Night’s Dream: Harold F. Brooks (Arden2)

Midsummer Night’s Dream (Arden Shakespeare)
William Shakespeare
Arden Shakespeare

I’m curious to see Sukanta Chaudhuri’s forthcoming Arden. Brooks is easily the best of the existing options.


As You Like It: Juliet Dusinberre (Arden3)

As You Like It (Arden Shakespeare: Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Dusinberre’s feminist approach yields excellent results on a play that is almost ideally suited to it.


Much Ado About Nothing: A. R. Humphreys (Arden2)

Humphreys is an excellent editor and does a thorough job on this somewhat fluffy play. Zitner (Oxford) is also good and more up to date. I find Claire McEachern’s (Arden3) stiff and humorless edition to be quite off-putting.


The Merry Wives of Windsor: Giorgio Melchiori (Arden3)

The Merry Wives of Windsor (Arden Shakespeare: Third Series)
William Shakespeare
Bloomsbury Arden Shakespeare

Melchiori wrote a great book on the sonnets, and here he makes a quirky edition out of a weird little play. Melchiori really likes the play, probably more than he should, but he’s a good enough critic that he adds to the play rather than detracting from it.


The Merchant of Venice: M. M. Mahood (Cambridge)

The Merchant of Venice (The New Cambridge Shakespeare)
William Shakespeare
Cambridge University Press

Mahood was a great scholar, and brings much to this ever-troubling play. She is vastly more perceptive about Shylock than Halio (Oxford) or John Russell Brown (Arden2). Yet she does not fall into polemic as does Drakakis (Arden3), who hauls out Lyotard and Terry Eagleton for the prosecution to deem Merchant “a racist text” in a “racist economy.” Drakakis descends into self-parody when he writes, in a footnote, “See Adolf Hitler, Mein Kampf.”


Twelfth Night: J. M. Lothian and T. W. Craik (Arden2)

Twelfth Night (Arden Shakespeare Second Series)
William Shakespeare
Arden Shakespeare

Lothian and Craik are more comprehensive and reliable than any subsequent edition. Keir Elam (Arden3) manages to be even stuffier than McEachern.


Measure for Measure: J. W. Lever (Arden2)

Measure for Measure (Arden Shakespeare: Second Series)
William Shakespeare
Bloomsbury Arden Shakespeare

No Arden3 yet for this, my favorite Shakespeare “comedy.” Lever is superb and judicious and has yet to be supplanted.


All’s Well That Ends Well: G. K. Hunter (Arden2)

All’s Well That Ends Well: Second Series (Arden Shakespeare)
William Shakespeare
Bloomsbury Arden Shakespeare

Hunter does a characteristically careful job on a play that doesn’t make many people’s favorites list. Snyder (Oxford) is more recent and has interesting (and different) things to say as well.

Poetry

Sonnets: W. G. Ingram and Theodore Redpath (Hodder & Stoughton)

Sonnets
William Shakespeare
Hodder Arnold

The sonnets are bathed in shadow, with so many unresolved questions (is the order right? is there an order? when were they written? were they written together? etc.). There’s far less context available here, so commentary and linguistic glosses are the most important thing, and Ingram and Redpath’s edition has the wisest and most judicious that I know. It deserves to be reissued. Kerrigan (Penguin) is extremely learned, but is sometimes aggravating in its speculation, while Burrow’s Complete Poems (Oxford) is more conservative. Both are fine runners-up. Stephen Booth’s (Yale) edition is certainly an achievement but is so excessive in exploring surface-level ambiguities of meaning and allusion that the poetry itself starts to disappear. It’s not for all tastes. David West (Duckworth) and Helen Vendler (Harvard) are more measured and their approaches are worthy. But Ingram/Redpath is a gem.


Everything Else: Colin Burrow (Oxford)

This includes the sonnets as well as the other poetic curios, and is excellent on the sonnets, if not up to Ingram and Redpath. Burrow knows his stuff and his treatment of the poetry is expert and comprehensive. The only blemish is the inclusion of the wretched, non-Shakespearean “Shall I die?”, which it appears Burrow was forced to include at gunpoint. (“It is a poem which it is very hard to read aloud, in my experience, without snorting at least once at its many inanities and points of metrical slackness”)

Criticism

It is very difficult to know where to begin with Shakespeare criticism. I put together two lists some years ago that Amazon, in their wisdom, will no longer allow me to edit. They are lists of books that have struck me personally, and which I think are of appeal to more than just an academic specialist. I’ve stuck to books exclusively on Shakespeare, so great critics like Bridget Gellert Lyons and Wilbur Sanders are omitted. Jonathan Bate’s list of criticism offers excellent starting points. (Bate has read vastly more of this stuff than I have. More than a couple of the below books, such as Bradshaw’s, I found out about through him.)


Criticism of the Plays

From 1908. So influential that much subsequent criticism on the tragedies takes it as a starting point.


William Empson: Essays on Shakespeare
William Empson
Cambridge University Press

Empson was a genius. The essay on Hamlet is eye-opening, maybe the single best thing on Hamlet I’ve ever read.


Wilson Knight comes off as a brilliant loon with his against-the-grain readings, casting Hamlet as a cancer on the healthy state of Denmark with Claudius as its capable and only slightly flawed king. Alternately insightful and beyond belief.


Angel With Horns And Other Shakespeare Lectures
Rossiter A. P
Longmans, Green And Co Ltd

Compelling and accessible lectures in the Bradleyan tradition. A very good starting point.


Very strong, even if the comedies aren’t your thing.


Shakespeare’s Living Art (Princeton Legacy Library)
Rosalie Littell Colie
Princeton University Press

Colie was one of the greatest and most overlooked scholars of the century. Inimitable.


Shakespeare’s Tragedies: An Introduction
Dieter Mehl
Cambridge University Press

Quite a good introduction in fact. Mehl covers a lot of ground well.


Shakespeare’s Scepticism (Cornell Paperbacks)
Graham Bradshaw
Cornell University Press

Incisive, polemical book that follows on Empson and Rossiter. The Hamlet and Macbeth essays are very compelling.


Everybody’s Shakespeare: Reflections Chiefly on the Tragedies
Maynard Mack
University of Nebraska Press

Approachable and personable. Mack hones in on big issues with clarity and insight.


Shakespeare’s Dramatic Language: Essays
Madeleine Doran
Univ of Wisconsin Pr

Excellent close reading of language in the tragedies. Doran is another great, forgotten female scholar whose work bests most of what’s going around today. (See also her epic Endeavors of Art: A Study of Form in Elizabethan Drama.)


Disowning Knowledge: In Seven Plays of Shakespeare
Stanley Cavell
Cambridge University Press

Brilliant. Read the essay The Avoidance of Love on King Lear if nothing else.


The first of Nuttall’s three great philosophical books on Shakespeare.


The second. Incredibly thoughtful, and a response to Erich Auerbach’s Mimesis.


Shakespeare the Thinker
A. D. Nuttall
Yale University Press

The last, a tour through all the plays.


King Lear and the Gods
William R. Elton
University Press of Kentucky

Excellent, exhaustive close reading of Lear.


An Essay on King Lear
S. L. Goldberg
Cambridge University Press

An intensely personal reading of Lear.


Hamlet Closely Observed
Martin Dodsworth
Athlone Press

A close reading of the entirety of Hamlet. Has its ups and downs but very thought-provoking.


The vastly erudite Brett Foster, who died tragically young, edited this superb anthology of four centuries of Hamlet criticism. Commentary from pre-20th century writers like Dryden, Voltaire, Schlegel, Goethe, Hazlitt, Coleridge, Turgenev, and Nietzsche precede the crucial essays by Bradley, Knight, Empson, Heilbrun, Booth, Bradshaw, and others.


Shakespeare Our Contemporary (Norton Library)
J. Kott
W. W. Norton & Company

The tragedies (mostly) through the lens of Communism.


Shakespeare and the Common Understanding
Norman Rabkin
Univ of Chicago Pr (Tx)

The beginning of more ambiguous interpretations of the plays and the conflicting feelings they can generate in audiences.


Shakespeare and the Problem of Meaning
Norman Rabkin
University Of Chicago Press

Rabkin’s more famous book, including a famous essay on Henry V. Questions how we are to respond to the plays, whether the plays have conclusive meanings at all, and how they play with that idea itself.


Booth, like Rabkin, takes a more metatextual view of the plays than earlier critics. More quirky than Rabkin but intermittently brilliant.


Looking at the plays from a theatrical point of view. From the 60s, very much ahead of its time. Has been published under Anne Righter and Anne Barton.


Shakespearean Meanings
Sigurd Burckhardt
Princeton University Press

Close readings from a tormented genius who died young. Insists the plays are better read than seen.


Northrop Frye on Shakespeare
Northrop Frye
Yale University Press

Frye with his usual keen structural insights.


The Stranger in Shakespeare
Leslie A. Fiedler
Flamingo

As with all of Fiedler’s work, far-ranging, quirky, and pained.


Misrepresentations: Shakespeare and the Materialists
Graham Bradshaw
Cornell University Press

Bradshaw’s second, somewhat more difficult book, dealing with Henry V and Othello while taking apart Stephen Greenblatt and many other recent trends. Difficult but deep.


Kenneth Burke on Shakespeare
Kenneth Burke
Parlor Press

An assemblage of Burke’s work on Shakespeare. Not an integral whole, but Burke as usual offers more insights per page than almost anyone since Empson.


The Structure of Complex Words
William Empson
Harvard University Press

Brilliant chapters on Othello, Lear, Timon of Athens, and especially Measure for Measure, folded into a double-knotted whole. Why is this out of print?


Shakespeare’s Use of the Arts of Language
Sister Miriam Joseph
Paul Dry Books

Excellent primer on rhetoric.


Shakespeare’s Imagery and What it Tells Us
Caroline Spurgeon
Cambridge University Press

Impressively vast tour of imagery in the plays. A big book.


A concise chronological overview, if Spurgeon’s book is too much.


Shakespeare’s Metrical Art
George T. Wright
University of California Press

Close, expert examination of meter and rhythm.


Exactly what it says on the tin. Accessible overview.


Shakespeare and the Rhetoricians
Marion Trousdale
Univ of North Carolina Pr

A deeply strange, abstract, and brilliant book about rhetoric and its relationship to reality.


Covers every play in sequence and how prose (rather than poetry) is used (or not used) in them.


Intellectual background for the moral and philosophical issues of the Renaissance.


Useful survey on a difficult topic.


The Origins of Shakespeare
Emrys Jones
Oxford University Press

Focuses in particular on Greek sources for the plays, which is good for those like me who are far more interested in Euripides than Seneca. Also hits non-Senecan sources like Lucan.


Stages of History: Shakespeare’s English Chronicles
Phyllis Rackin
Cornell University Press

New Historicism at its best.


Some of the most amiable postmodern criticism on Shakespeare.


Psychoanalytic criticism, as you might guess from the title. Fascinating even when unconvincing.


Eccentric, inspired, singular. A poet’s view.


One of the best recent anthologies. Not a bad place to start. In general, be quite wary of anthologies, which often only offer a chronologically and theoretically narrow slice of criticism.

Criticism of the Sonnets


Seven Types of Ambiguity
William Empson
New Directions

Only partly about the sonnets, but Empson’s reading of Sonnet 83 in Chapter 4 is indispensable. The whole book is indispensable really.


Empson takes on sonnet 94 with equally great results in They That Have Power. Great essay on Alice in Wonderland too.


Excellent overview of criticism up to 1976. Includes an extract from the controversial Graves/Riding essay on Sonnet 129.


Amazing contextualization of the sonnets in the history of poetry, including Horace, Ovid, and Petrarch.


An Essay On Shakespeare’s Sonnets
Stephen Booth
Yale Univerisity Press

Something of a classic. Booth is far more restrained and focused here than in his edition of the sonnets.


Abstract, creative analysis of a handful of sonnets in conjunction with a couple plays. Quite wide-ranging, somewhere between Empson and Vendler.


Such Is My Love: A Study of Shakespeare’s Sonnets
Joseph Pequigney
University of Chicago Press

Excellent close reading that focuses on the historically neglected eroticism and sexuality (both homo- and hetero-) in the sonnets.


Mutual Flame (Library Reprint)
G. Wilson Knight
Methuen young books

Wilson Knight: Always weird, always exciting. A collection of essays that take odd themes and run with them. He still can’t convince me that the Phoenix and the Turtle is interesting, though.


Speech and Performance in Shakespeare’s Sonnets and Plays
David Schalkwyk
Cambridge University Press

Good theoretical, synthetic approach treating the sonnets alongside the plays. Somewhat of the Austin/Cavell school.