The Temple Shakespeare /

"The text here used is that of the 'Cambridge' edition"--Verso of t.p.

The trimmed lamp, and other stories of The four million /

For other editions, see Author Catalog.

Shakespeare's works, with glossarial notes, and a sketch of his life ...

v. 1. The tempest. Two gentlemen of Verona. Merry wives of Windsor. Twelfth night. Measure for measure.--v. 2. Much ado about nothing. Midsummer-night's dream. Love's labors lost. Merchant of Venice. As you like it.--v. 3. All's well that ends well. Taming of the shrew. Winter's tale. Comedy of errors. Macbeth.--v. 4. King John. King Richard II. King Henry IV, part I. King Henry IV, part II. King Henry V.--v. 5. King Henry VI, part I. King Henry VI, part II. King Henry VI, part III. King Richard III.--v.6. King Henry VIII. Troilus and Cressida. Timon of Athens. Coriolanus.--v. 7. Julius Caesar. Antony and Cleopatra. Cymbeline. Titus Andronicus. Pericles.--v. 8. King Lear. Romeo and Juliet. Hamlet. Othello.

The dramatic works of William Shakespeare; with a life of the poet, and notes, original and selected.

Edited by Oliver W. B. Peabody; based on Singer's edition, "carefully compared" with the folio of 1623; with the life by Dr. Symmons, revised, and "New facts" by Collier. The first critical American edition. cf. Preface and J. Sherzer, American editions of Shakespeare (Modern lang. assoc. Publ., v. 22, pp. 658-659)

Shakespeare's works.

1. Tempest. Two gentlemen of Verona. Merry wives of Windsor. Measure for measure. Comedy of errors.--2. Much ado about nothing. Love's labour's lost. Midsummer night's dream. Merchant of Venice. As you like it.--3. Taming of the shrew. All's well that ends well. Twelfth Night. Winter's tale.--4. King John. King Richard II. King Henry IV. King Henry V.--5. King Henry VI. King Richard III. King Henry VIII.--6. Troilus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet.--7. Timon of Athens. Julius Caesar. Macbeth. Hamlet. King Lear.--8. Othello. Antony and Cleopatra. Cymbeline. Pericles.--9. Songs, sonnets, poems. Index to first lines.

Short plays about famous authors,

Introduction.--A mistake at the manor ["based on an incident in the early life of Oliver Goldsmith"]--When Heine was twenty-one.--Miss Burney at court.--A Christmas eve with Charles Dickens.--The fairies' plea; an interlude for Shakespeare day. Adapted from Thomas Hood's "Plea of the midsummer fairies."

Stories for boys,

The reporter who made himself king.--Midsummer pirates.--Richard Carr's baby.--The great Tri-club tennis tournament.--The jump at Corey's slip.--The Van Bibber baseball club.--The story of a jockey.

The works of William Shakespeare /

v. 1. Life, etc. The tempest. The two gentlemen of Verona. The merry wives of Windsor. Measure for measure.--v. 2. The comedy of errors. Much ado about nothing. Love's labour's lost. A midsummer night's dream. The merchant of Venice.--v. 3. As you like it. The taming of the shrew. All's well that ends well. Twelfth-night. The winter's tale.--v. 4. King John. King Richard II. King Henry IV. Pts. I-II. King Henry V.--v. 5. King Henry VI. Pts. I-III. King Richard III. King Henry VIII.--v. 6. Triolus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet. Timon of Athens. Julius Caesar.--v. 7. Macbeth. Hamlet. King Lear. Othello. Antony and Cleopatra. Cymbeline.--v. 8. Pericles. The two noble kinsmen. Venus and Adonis. Lucrece. Sonnets. A lover's complaint. The passionate pilgrim. The phoenix and turtle.--v. 9. Glossary.

The works of Shakespeare /

"The text ... from MacBeth [v. 31] onwards has been edited by Mr. Walter Raleigh" note in v. 38.

The dramatic works of William Shakspeare : accurately printed from the text of the corrected copy left by the late George Steevens ..., with glossarial notes and a sketch of the life of Shakspeare ; in two volumes.

Added title-pages, engraved (with vignette) : The plays of William Shakspeare, illustrated with engravings by George B. Ellis, from the designs of R. Smirk, R. A.

The complete works of Shakespeare with life, compendium, and concordance ...

At head of title: The Dr. Johnson edition.

The comedies, histories, and tragedies of Mr. William Shakespeare as presented at the Globe and Blackfriars Theatres, circa 1591-1623 : being the text furnished the players, in parallel pages with the first revised folio text, with critical introductions : the Bankside Shakespeare /

"Five hundred copies only"--V. 1, p. [43].

Proceedings and committee reports.

Vols. contain reports of the association and proceedings of the annual meetings, occasional special meetings; and midsummer meetings for 1938-1941.

Summer dormancy in Dactylis glomerata L.: the influence of season of sowing and a simulated mid-summer storm on two contrasting cultivars

A series of trials to increase understanding of the summer dormancy trait in Dactylis glomerata was conducted. Autumn-sown reproductive and younger, spring-sown plants of 2 drought-resistant cultivars, contrasting for summer dormancy, were established and then tested in summer 2002 under long drought, drought + midsummer storm, or full irrigation. The autumn-sown reproductive plants of cv. Kasbah were summer dormant under all moisture regimes and exhibited the characteristic traits including growth cessation, rapid herbage senescence, and dehydration of surviving organs (-6.7MPa). Cultivar Kasbah used 8% less soil water over the summer and also began to rehydrate its leaf bases from conserved soil water before the drought broke. The non-dormant cv. Medly grew for 10 days longer under drought and whenever moisture was applied; Medly also responded to the storm with a decline in dehydrin expression in leaf bases, whereas no decline occurred in Kasbah, presumably because it remained dormant and therefore much drier. The irrigated, younger, spring-sown swards of cv. Kasbah had restrained growth and produced only about 25% of the herbage of cv. Medly. Drought reduced activity and growth of young plants of both cultivars, but whereas Medly regrew in response to the storm, cv. Kasbah did not, indicating that dormancy, although only partially expressed after spring sowing, was reinforced by summer drought. A longer drought in 2003 caused a 22% loss of the basal cover in cv. Medly, whereas Kasbah fully maintained its sward and therefore produced a higher post-drought autumn yield. This work confirms summer dormancy as a powerful trait for improving persistence over long, dry summers.

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.