A Woman Killed with Kindness

A Woman Killed with Kindness

A Woman Killed with Kindness

A Woman Killed with Kindness

Excerpt

The aim of this series is to apply to plays by Shakespeare's predecessors, contemporaries, and successors the methods that are now used in Shakespeare editing. It is indeed out of the success of the New Arden Shakespeare that the idea of the present series has emerged, and Professor Una Ellis-Fermor and Dr Harold F. Brooks have most generously given advice on its planning.

There is neither the hope nor the intention of making each volume in the series conform in every particular to one pattern. Each author, each individual play, is likely to present special problems--of text, of density of collation and commentary, of critical and historical judgment. Moreover, any scholar engaged in the task of editing a sixteenth- or seventeenth-century play will recognize that wholly acceptable editorial principles are only gradually becoming plain. There will, therefore, be no hesitation in modifying the practice of this series, either in the light of the peculiarities of any one play or in the light of growing editorial experience. Nevertheless, in certain basic matters the plan of the series is likely to remain constant.

The introductions will include discussions of the provenance of the text, the play's stage-history and reputation, its significance as a contribution to dramatic literature, and its place within the work of its author. The text will be based on a fresh examination of the early editions. Modern spelling will be used, and the original punctuation will be modified where it is likely to cause obscurity; editorial stage-directions will be enclosed in square brackets. The collation will aim at making clear the grounds for an editor's choice in every instance where the original or a frequently accepted modern reading has been departed from. The annotations will attempt to explain difficult passages and to provide such comments and illustrations of usage as the editor considers desirable. Each . . .

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