1593-1608 Sonnets (154 poems, published 1609 with A Lover's Complaint, a poem of disputed authorship)
1592-94/ Sir Thomas More (a single scene for a play originally
1600-03 by Anthony Munday, with other revisions by Henry Chettle, Thomas Dekker, and Thomas Heywood)
1594 The Comedy of Errors
1595 Love's Labour's Lost
1595-97 Love's Labour's Won (a lost play, unless the original title for another comedy)
1595-96 A Midsummer Night's Dream
1595-96 The Tragedy of Romeo and Juliet
1595-96 King Richard the Second
1595-97 The Life and Death of King John (possibly earlier)
1596-97 The Merchant of Venice
1596-97 The First Part of Henry the Fourth
1597-98 The Second Part of Henry the Fourth
1598 Much Ado About Nothing
1598-99 The Passionate Pilgrim (20 poems, some not by Shakespeare)
1599 The Life of Henry the Fifth
1599 "To the Queen" (epilogue for a court performance)
1599 As You Like It
1599 The Tragedy of Julius Caesar
1600-01 The Tragedy of Hamlet, Prince of Denmark (perhaps revising an earlier version)
1600-01 The Merry Wives of Windsor (perhaps revising version of 1597-99)
1601 "Let the Bird of Loudest Lay" (poem, known since 1807 as "The Phoenix and Turtle" [turtledove])
1601 Twelfth Night, or What You Will
1601-02 The Tragedy of Troilus and Cressida
1604 The Tragedy of Othello, the Moor of Venice
1604 Measure for Measure
1605 All's Well That Ends Well
1605 The Life of Timon of Athens, with Thomas Middleton
1605-06 The Tragedy of King Lear
1605-08 ? contribution to The Four Plays in One (lost, except for A Yorkshire Tragedy, mostly by Thomas Middleton)
1606 The Tragedy of Macbeth (surviving text has additional scenes by Thomas Middleton)
1606-07 The Tragedy of Antony and Cleopatra
1608 The Tragedy of Coriolanus
1608 Pericles, Prince of Tyre, with George Wilkins
1610 The Tragedy of Cymbeline
1611 The Winter's Tale
1611 The Tempest
1612-13 Cardenio, with John Fletcher (survives only in later adaptation called Double Falsehood by Lewis Theobald)
1613 Henry VIII (All Is True), with John Fletcher
1613-14 The Two Noble Kinsmen, with John Fletcher
FURTHER READING AND VIEWING
CRITICAL APPROACHES
Bennett, Robert S., Romance and Reformation in the Erasmian Spirit of Shakespeare's Measure for Measure (2000). Lively, detailed discussion of the play's genre, ethics, and construction.
Bloom, Harold, ed., William Shakespeare: Measure for Measure, Modern Critical Interpretations (1987). Excellent selection of influential twentieth-century essays.
Chedgzoy, Kate, William Shakespeare: Measure for Measure, Writers and Their Work Series (2000). Good introduction covering history, context, and performance.
Geckle, George L., ed., Measure for Measure, Shakespeare: The Critical Tradition Series (2001). Comprehensive collection of essays from 1783 to 1920, including Hazlitt, Coleridge, and Swinburne.
Hawkins, Harriet, " 'The Devil's Party': Virtues and Vices in Measure for Measure," Modern Critical Interpretations: William Shakespeare's Measure for Measure, edited by Harold Bloom (1987), pp. 81-93. Lively, discursive, relates to popular culture.
Jamieson, Michael, "The Problem Plays, 1920-1970: A Retrospect," Shakespeare Survey 25 (1972), pp. 1-10. Useful introductory account of the history of the so-called "problem plays."
Knight, G. Wilson, "Measure for Measure and the Gospels," in The Wheel of Fire: Interpretations of Shakespearian Tragedy (1949), pp. 73-96. Detailed account of the play's religious allusions.
Riefer, Marcia, " 'Instruments of Some More Mightier Member': The Constriction of Female Power in Measure for Measure," Shakespeare Quarterly 35 (1984), pp. 157-69. Strong feminist reading.
Rowe, M. W., "The Dissolution of Goodness: Measure for Measure and Classical Ethics," International Journal of the Classical Tradition 5 (1998), pp. 20-46. Powerful reading arguing that the play shows the superiority of classical, notably Aristotelian, ethics over "puritan" conceptions of morality.
Seiden, Melvin, Measure for Measure: Casuistry and Artistry (1990). Catholic discussion of the play's problems.
Shuger, Debora Kuller, Political Theologies in Shakespeare's England: The Sacred and the State in Measure for Measure (2001). Detailed historical account of the relationship between Tudor/Stuart politics and religion.
Stead, C. K., ed., Shakespeare: Measure for Measure, Casebook Series (1971). Useful collection of early and influential twentieth-century essays.
Tennenhouse, Leonard, "Representing Power: Measure for Measure in Its Time," in Shakespeare and History, ed. Stephen Orgel and Sean Keilen (1999), pp. 321-38. Reads the play in conjunction with other disguised ruler plays as a transitional text from Tudor to Jacobean periods.
Watt, Gary, Equity Stirring: The Story of Justice Beyond Law (2009), pp. 218-25. Exceptionally interesting, placing the play in the context of the emergence of the concept of "equity" in English law.
Wood, Nigel, ed., Measure for Measure, Theory in Practice Series (1996). Theoretically informed selection of essays exploring history, politics, and performance.
THE PLAY IN PERFORMANCE
Barton, John, and Gareth Lloyd Evans, "Directing Problem Plays," Shakespeare Survey 25 (1972), pp. 63-71. Fascinating account arguing that the production offers a richer, more complex version of the play than a critic can.
Berry, Ralph, "Measure for Measure: Casting the Star," Shakespeare in Performance: Castings and Metamorphoses (1993), pp. 119-25. Original look at the play in performance.
Coursen, H. R., "Why Measure for Measure?," in Shakespeare on Television: An Anthology of Essays and Reviews, ed. J. C. Bulman and H. R. Coursen (1998), pp. 179-84. Favorable discussion of BBC production.
Hampton-Reeves, Stuart, Measure for Measure, Shakespeare Handbooks Series (2007). Useful introduction to the play and history of performance.
Jackson, Russell, and Robert Smallwood, eds., Players of Shakespeare 2 (1988), pp. 13-31. Daniel Massey on playing the duke in Measure for Measure: thoughtful actor's account.
Jackson, Russell, and Robert Smallwood, eds., Players of Shakespeare 3 (1993). Roger Allam on playing the duke, pp. 21-41.
McCandless, David, Gender and Performance in Shakespeare's Problem Comedies (1997), pp. 108-22. Academic's account of directing a radical student production.
Nicholls, Graham, "Measure for Measure Before 1970," in Measure for Measure: Text & Performance (1986), pp. 50-53. Part 1: a good introductory account; part 2: discusses four productions in detail--RSC 1970, Marowitz 1975, RSC 1978, BBC 1979.
Parsons, Keith, and Pamela Mason, Shakespeare in Performance (1995). Basic introduction by Mike Paterson, pp. 131-35, lavishly illustrated.
Rocklin, Edward L., "Measured Endings: How Productions from 1720 to 1929 Close Shakespeare's Open Silences in Measure for Measure," Shakespeare Survey 53 (2000) pp. 213-32. Useful, detailed discussion of different approaches to the last scene.
Rutter, Carol, Clamorous Voices: Shakespeare's Women Today (1988). Chapter 2, "Isabella: Virtue Betrayed?," pp. 26-52. Actresses who've played the part discuss the role and the play.
AVAILABLE ON DVD
Measure for Measure, directed by Desmond Davis for BBC Shakespeare (1979, DVD 2005). Tim Piggott-Smith and Kate Nelligan are excellent as Angelo and Isabella; typically splendid BBC cast of low-life characters.
Measure for Measure, directed by David Thacker (1994, DVD 2007) with Tom Wilkinson, Corin Redgrave, Juliet Aubrey, and Henry Goodman. Updated setting, sophisticated televisual awareness--terrific performances, touching and disturbing.
Measure for Measure, directed by Bob Komar (DVD 2007). Updated
, heavily cut and set in British army barracks, with Josephine Rogers as Isabella, Daniel Roberts as Angelo, and Simon Phillips as the duke.
REFERENCES
1. Robert Latham and William Matthews, eds., The Diary of Samuel Pepys, Vol. 3 (1970), p. 32. This diary entry may have referred to the premiere on 15 February 1662 or a later performance on 17 December in the same year.
2. Mrs. Inchbald, Measure for Measure (1808), p. 5, quoted in Rosalind Miles, The Problem of Measure for Measure (1976), p. 305.
3. William Archer, The Theatrical "World" for 1893 (1894), pp. 266-73.
4. New York Times, 7 February 1888.
5. The Times, London, 11 November 1893.
6. C. E. Montague, "The Art of Mr Poel," in his Dramatic Values (1925), pp. 222-43.
7. Gordon Crosse, Shakespearean Playgoing 1890-1925 (1953), p. 54.
8. Tyrone Guthrie, A Life in the Theatre (1961).
9. Peter Fleming, The Spectator, Vol. 184, No. 6351, 17 March 1950, pp. 337-38.
10. Kenneth Tynan, He That Plays the King: A View of the Theatre (1950), pp. 138-52.
11. J. C. Trewin, "Moon and Stars: 1950-1952," in his Peter Brook: A Biography (1971), pp. 50-65.
12. Jack Karr, Toronto Star, 29 June 1954, quoted in Jane Williamson, "The Duke and Isabella on the Modern Stage," in The Triple Bond: Plays, Mainly Shakespearean in Performance, ed. Joseph G. Price (1975), pp. 149-69.
13. Williamson, "The Duke and Isabella on the Modern Stage," pp. 149-69.
14. Time and Tide, 30 November 1957.
15. Williamson, "The Duke and Isabella on the Modern Stage," pp. 149-69.
16. The Times, London, 4 April 1963.
17. Williamson, "The Duke and Isabella on the Modern Stage," pp. 149-69.
18. Tyrone Guthrie, note in Measure for Measure RSC Programme, 1966.
19. The Times, London, 4 March 1966.
20. Clive Barnes, New York Times, 13 June 1975.
21. Ibid.
22. Charles Marowitz, The Marowitz Shakespeare (1978), p. 20.
23. John Elsom, The Listener, Vol. 105, No. 2709, 23 April 1981.
24. Frank Rich, New York Times, 10 March 1989.
25. Ibid.
26. Nancy Taylor, Theatre Journal, Vol. 51, No. 1 (March 1999), pp. 73-76.
27. D. J. R. Bruckner, New York Times, 20 August 1999.
28. Ben Brantley, New York Times, 18 June 2001.
29. Stuart Hampton-Reeves, Measure for Measure, Shakespeare Handbooks Series (2007), p. 124.
30. Ibid.
31. Ibid., p. 125.
32. Ibid., pp. 128-9.
33. Ibid., p. 130.
34. This is one of the productions discussed in detail in Graham Nicholls, Measure for Measure: Text and Performance (1986).
35. John Mortimer, "Measure for Measure," in Shakespeare in Perspective, Vol. 1, ed. Roger Sales (1982).
36. Nigel Wood, "Measure for Measure," in Performing Measure for Measure, ed. Peter Corbin (1996).
37. Judi Dench, "Measure for Measure," in Sales, Shakespeare in Perspective, Vol. 1.
38. Irving Wardle, The Times, London, 5 September 1974.
39. Benedict Nightingale, New Statesman, 13 September 1974.
40. Keith Hack, note in Measure for Measure RSC Programme, 1974.
41. Peter Thomson, Shakespeare Survey 28 (1975).
42. Ibid.
43. Nicholas Hytner, interview with Janet Watts, Observer, 8 November 1987.
44. Michael Billington, Country Life, 12 November 1987.
45. Ibid.
46. Roger Allam, "The Duke in Measure for Measure," in Players of Shakespeare 3, ed. Russell Jackson and Robert Smallwood (1993).
47. Robert Smallwood, Shakespeare Quarterly (1992).
48. Nicholas de Jongh, Evening Standard, 11 March 1992.
49. Matt Wolf, City Limits, 19 March 1992.
50. Interview with Trevor Nunn by Benedict Nightingale, The Times, London, 27 August 1991.
51. Ibid.
52. Smallwood, Shakespeare Quarterly.
53. " 'But man, proud man, dress'd in a little brief authority ...,' Angelo and the Duke," in Judith Cook, Shakespeare's Players (1983).
54. Michael Scott, Renaissance Drama for a Modern Audience (1982), p. 61.
55. B. A. Young, Financial Times, 5 September 1974.
56. Peter Thomson, Shakespeare Survey 28 (1975).
57. Wardle, The Times, London, 5 September 1974.
58. Scott, Renaissance Drama for a Modern Audience, p. 61.
59. Ralph Berry, Changing Styles in Shakespeare (1981).
60. Peter Ansorge, Plays and Players (October 1974).
61. Daniel Massey, "The Duke in Measure for Measure," in Players of Shakespeare 2, ed. Russell Jackson and Robert Smallwood (1988).
62. Daniel Massey played the Duke for the RSC in 1983.
63. Allam, "The Duke in Measure for Measure."
64. Ibid.
65. Michael Coveney, Financial Times, 13 November 1987.
66. Michael Billington, Country Life, 12 November 1987.
67. Allam, "The Duke in Measure for Measure."
68. Ibid.
69. Robert Smallwood, Shakespeare Quarterly (1992).
70. Robert Smallwood, Shakespeare Quarterly (1991).
71. Benedict Nightingale, The Times, London, 12 March 1992.
72. Daniel Evans on Angelo for the RSC Online Play Guides, Measure for Measure.
73. John Mortimer, "Measure for Measure," in Sales, Shakespeare in Perspective.
74. Ibid.
75. Michael Pennington, in Cook, Shakespeare's Players. Michael Pennington played Angelo in the RSC's 1974 production directed by Keith Hack.
76. Ian Richardson, in Cook, Shakespeare's Players.
77. Scott, Renaissance Drama for a Modern Audience, p. 61.
78. David Haig in interview with Ceridwen Thomas, Plays and Players, October 1991.
79. Paul Taylor, Independent, 12 March 1992.
80. Jack Tinker, Daily Mail, 13 March 1992.
81. Michael Billington, Guardian, 22 October 1994.
82. Michael Coveney, Financial Times, 28 June 1978.
83. Mortimer, "Measure for Measure."
84. J. M. Nosworthy, "Introduction" to Measure for Measure (1969), p. 44.
85. Juliet Stevenson, "Isabella: Virtue Betrayed," in Carol Rutter, Clamorous Voices (1988).
86. Anne Barton, "But man, proud man ...," note in Measure for Measure RSC Programme, 1970.
87. Dench, "Measure for Measure."
88. Benedict Nightingale, New Statesman, 10 April 1970.
89. Carol Rutter, "Isabella: Virtue Betrayed," in her Clamorous Voices.
90. Scott, Renaissance Drama for a Modern Audience.
91. Stevenson, "Isabella: Virtue Betrayed."
92. Allam, "The Duke in Measure for Measure."
93. Paul Taylor, Independent, 22 October 1994.
ACKNOWLEDGMENTS AND PICTURE CREDITS
Preparation of "Measure for Measure in Performance" was assisted by a generous grant from the CAPITAL Centre (Creativity and Performance in Teaching and Learning) of the University of Warwick for research in the RSC archive at the Shakespeare Birthplace Trust.
Thanks as always to our indefatigable and eagle-eyed copy editor Tracey Day and to Ray Addicott for overseeing the production process with rigor and calmness.
Picture research by Michelle Morton. Grateful acknowledgment is made to the Shakespeare Birthplace Trust for assistance with picture research (special thanks to Helen Hargest) and reproduction fees.
Images of RSC productions are supplied by the Shakespeare Centre Library and Archive, Stratford-upon-Avon. This Library, maintained by the Shakespeare Birthplace Trust, holds the most important collection of Shakespeare material in the UK, including the Royal Shakespeare Company's official archive. It is open to the public free of charge.
For more information see www.shakespeare.org.uk.
1. Directed by Peter Brook (1950). Angus McBean (c) Royal
Shakespeare Company
2. Directed by John Barton (1970). Reg Wilson (c) Royal Shakespeare Company
3. Directed by John Blatchley (1962). Joe Cocks Studio Collection (c) Shakespeare Birthplace Trust 4. Directed by Steven Pimlott (1994). Malcolm Davies (c) Shakespeare Birthplace Trust 5. Directed by Trevor Nunn (1991). Joe Cocks Studio Collection (c) Shakespeare Birthplace Trust 6. Directed by Nicholas Hytner (1987). Joe Cocks Studio Collection (c) Shakespeare Birthplace Trust 7. Directed by Nicholas Hytner (1987). Joe Cocks Studio Collection (c) Shakespeare Birthplace Trust 8. Reconstructed Elizabethan playhouse (c) Charcoalblue
THE MODERN LIBRARY EDITORIAL BOARD
Maya Angelou
*
A. S. Byatt
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Caleb Carr
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Christopher Cerf
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Harold Evans
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Charles Frazier
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Vartan Gregorian
*
Jessica Hagedorn
*
Richard Howard
*
Charles Johnson
*
Jon Krakauer
*
Edmund Morris
*
Azar Nafisi
*
Joyce Carol Oates
*
Elaine Pagels
*
John Richardson
*
Salman Rushdie
*
Oliver Sacks
*
Carolyn See
*
Gore Vidal
3 properties particulars, qualities unfold explain
4 seem ... t'affect make it appear that I loved/make it seem as if I wished to display 5 put to know obliged to acknowledge science knowledge
6 that i.e. knowledge of the properties of government lists limits 7 strength mental capacity
8 But ... work unclear, possibly because certain words have been omitted accidentally; the general sense seems to be "other than to rely on the workings of your ability (sufficiency) and worth"
10 institutions customs/laws terms conditions/sessions of the law court 11 pregnant knowledgeable
12 art and practice learning and experience
14 warp deviate
16 What ... bear? How do you think he will represent me?/How will he perform as my substitute? figure duke's stamp on a coin or seal 17 special soul inner conviction, particular consideration
18 supply occupy as a substitute
19 terror supreme authority, power to punish dressed ... love furnished him with our ability to grant favors/invested him with our favor 20 deputation position as deputy organs instruments
23 undergo sustain grace favor