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Watch The Other Woman Full Movie Online Free Streaming HD Watch The Other Woman Full Movie Online Free Streaming HD Click here: Watch Now! <---- To Watch The Other Woman Full Movie Online Free Streaming HD Info about The Other Woman Modern Complete Works There are six major modern scholarly editions of the Complete Works of Shakespeare: The Riverside Shakespeare (edited by G. Blakemore Evans in 1974, with a second edition in 1996), The Oxford Shakespeare: The Complete Works (edited by Stanley Wells, Gary Taylor, John Jowett and William Montgomery in 1986, with a second edition in 2005), The Norton Shakespeare: Based on the Oxford Edition (edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard and Katharine Eisaman Haus in 1997, with a second edition in 2008), The Arden Shakespeare: Complete Works (edited by Richard Proudfoot, Ann Thompson and David Scott Kastan in 1998, with a second edition in 2002 and a third in 2011), The Complete Pelican Shakespeare (edited by Stephen Orgel and A. R. Braunmuller in 2002), and The RSC Shakespeare: Complete Works (edited by Jonathan Bate and Eric Rasmussen in 2007). Additionally, as with Oxford, Arden, Pelican and the RSC, the New Cambridge Shakespeare, the New Penguin Shakespeare, the Signet Classic Shakespeare, the Dover Wilson Shakespeare, the Shakespeare Folios and the Folger Shakespeare Library all publish scholarly editions of individual plays, although none have issued a complete works volume. Arden presents the plays alphabetically without any attempt to construct an overall chronology. Oxford, Riverside, Norton and RSC all present chronologies which differ from one another and which attempt to construct only approximate dating. The following list adopts the Oxford Shakespeare chronology, although none of the major chronologies has any real authority over any of the others. Chronology The Two Gentlemen of Verona (15891591) Extract from Francis Meres' Palladis Tamia (1598), which makes reference to twelve of Shakespeare's plays. First official record: in Francis Meres' Palladis Tamia (1598), referred to as "Getleme of Verona." First published: First Folio (1623). First recorded performance: an adaptation by Benjamin Victor was performed at Drury Lane in 1762.[9] The earliest known performance of the straight Shakespearean text was at Covent Garden

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Modern Complete Works

There are six major modern scholarly editions of the Complete Works of Shakespeare: The RiversideShakespeare (edited by G. Blakemore Evans in 1974, with a second edition in 1996), The OxfordShakespeare: The Complete Works (edited by Stanley Wells, Gary Taylor, John Jowett and WilliamMontgomery in 1986, with a second edition in 2005), The Norton Shakespeare: Based on the OxfordEdition (edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard and Katharine Eisaman Hausin 1997, with a second edition in 2008), The Arden Shakespeare: Complete Works (edited by RichardProudfoot, Ann Thompson and David Scott Kastan in 1998, with a second edition in 2002 and a thirdin 2011), The Complete Pelican Shakespeare (edited by Stephen Orgel and A. R. Braunmuller in2002), and The RSC Shakespeare: Complete Works (edited by Jonathan Bate and Eric Rasmussen in2007). Additionally, as with Oxford, Arden, Pelican and the RSC, the New Cambridge Shakespeare,the New Penguin Shakespeare, the Signet Classic Shakespeare, the Dover Wilson Shakespeare, theShakespeare Folios and the Folger Shakespeare Library all publish scholarly editions of individualplays, although none have issued a complete works volume.

Arden presents the plays alphabetically without any attempt to construct an overall chronology.Oxford, Riverside, Norton and RSC all present chronologies which differ from one another and whichattempt to construct only approximate dating. The following list adopts the Oxford Shakespearechronology, although none of the major chronologies has any real authority over any of the others.

Chronology

The Two Gentlemen of Verona (1589�1591)

Extract from Francis Meres' Palladis Tamia (1598), which makes reference to twelve ofShakespeare's plays.

First official record: in Francis Meres' Palladis Tamia (1598), referred to as "Getleme of Verona."

First published: First Folio (1623).

First recorded performance: an adaptation by Benjamin Victor was performed at Drury Lane in1762.[9] The earliest known performance of the straight Shakespearean text was at Covent Garden

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on 15 April 1784, although because of the reference to the play in Palladis Tamia, we know it wasdefinitely performed in Shakespeare's lifetime.[10]

Evidence: Stanley Wells argues that the play's "dramatic structure is comparatively unambitious,and while some of its scenes are expertly constructed, those involving more than, at the most, fourcharacters betray an uncertainty of technique suggestive of inexperience."[11] As such, the play isconsidered one of the first Shakespeare composed upon arriving in London c.1590, at which point hewould have lacked theatrical experience. Furthermore, the discussion between Launce and Speedregarding the vices and virtues of Launce's mistress (3.1.276-359[12]) seems to borrow from JohnLyly's Midas, which was written in late 1588 and/or early 1589, thus fixing a terminus post quem forthe play.[13] This situates the date of composition as somewhere between 1589 and 1591, by whichtime it is known Shakespeare was working on the Henry VI plays.[14][15]

In his 2008 edition of the play for the Oxford Shakespeare, Roger Warren, following E.A.J.Honigmann, suggests Shakespeare may have written the play prior to his arrival in London, possiblyas early as 1587, although he acknowledges this theory is purely speculative.[16]

The Taming of the Shrew (1590�1591)

1596 second quarto of A Shrew

First official record: possible version of the play entered into Stationers' Register by Peter Short on 2May 1594 as "a booke intituled A plesant Conceyted historie called the Tayminge of a Shrowe." Firstrecord of the play as it exists today is found in the First Folio (1623).

First published: possible version of the play published in quarto in 1594 as A Pleasant ConceitedHistorie, called The taming of a Shrew (printed by Peter Short for Cuthbert Burby). This text wasrepublished in 1596 (again by Short for Burby) and 1607 (by Valentine Simmes for Nicholas Ling).The play as it exists today was first published in the First Folio as The Taming of the Shrew.

Additional information (publication): there is a general lack of scholarly agreement regarding theexact relationship between the 1594 A Shrew and the 1623 The Shrew. Originally, A Shrew was seenas a non-Shakespearean source for The Shrew, meaning The Shrew must have been completedsometime after 2 May 1594.[17][18]

This remained the predominant theory until 1850, when Samuel Hickson suggested that A Shrewwas in some way derived from The Shrew.[19][20] Peter Alexander developed Hickson's work intohis reported text/bad quarto theory, which necessitates that The Shrew must have been written priorto 2 May 1594.[21][22] However, there are other theories about the relationship between the texts.In 1942, R.A. Houk posited the "Ur-Shrew" theory, suggesting that the plays are two completelyunrelated texts by different authors based on the same (now lost) source.[23]

In 1943, G.I. Duthie refined this theory, suggesting that A Shrew was a reported text of an earlydraft of The Shrew.[24]

In his 1998 edition of A Shrew for the New Cambridge Shakespeare: The Early Quartos series,Stephen Roy Miller suggested A Shrew was an adaptation of The Shrew written by someone otherthan Shakespeare.[25] Critics remain divided on this issue.[26][27][28][29]

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First recorded performance: according to Philip Henslowe's diary, a play called The Tamynge of AShrowe was performed at Newington Butts on 13 June 1594. This could have been either the 1594 AShrew or the Shakespearean The Shrew, but as the Admiral's Men and the Lord Chamberlain's Men,Shakespeare's own company, were sharing the theatre at the time, and as such Shakespeare himselfwould have been there, scholars tend to assume it was The Shrew.[30] The Shakespearean versionwas definitely performed at court before Charles I and Henrietta Maria on 26 November 1633,where it was described as "likt."[31]

Evidence: a terminus ante quem for A Shrew would seem to be August 1592; a stage direction at3.21 mentions "Simon," which probably refers to the actor Simon Jewell, who was buried on 21August 1592.[32] The Shrew must have been written earlier than 1593, as Anthony Chute's BeautyDishonoured, written under the title of Shore's wife (published in June 1593) contains the line "Hecalls his Kate, and she must come and kiss him." This must refer to The Shrew, as there is nocorresponding "kissing scene" in A Shrew.[32] There are also verbal similarities between both Shrewplays and the anonymous play A Knack to Know a Knave (first performed in June 1592). Knackfeatures several passages common to both A Shrew and The Shrew, but it also borrows severalpassages unique to The Shrew. This suggests The Shrew was on stage prior to June 1592.[33]However, Kier Elam further narrows the terminal date of The Shrew to 1591, based onShakespeare's probable use of two sources published that year; Abraham Ortelius' map of Italy inthe fourth edition of Theatrum Orbis Terrarum and John Florio's Second Fruits.[34] As neitherShrew play is likely to have been written any earlier than 1590,[35] this places the likely date ofcomposition of The Shrew as 1590-1591, with A Shrew written sometime prior to August 1592.

Henry VI, Part 2 (1591)

1594 quarto of The First part of the Contention

First official record: version of the play entered into the Stationers' Register by Thomas Millingtonon 12 March 1594 as "a booke intituled, the firste parte of the Contention of the twoo famous housesof York and Lancaster with the deathe of the good Duke Humfrey and the banishement and Deatheof the Duke of Suffolk and the tragicall ende of the prowd Cardinall of Winchester, with the notablerebellion of Jack Cade and the Duke of Yorkes ffirste clayme unto the Crowne."

First published: version of the play published in quarto in 1594 as The First part of the Contentionbetwixt the two famous Houses of Yorke and Lancaster, with the death of the good Duke Humphrey:And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinalof Winchester, with the notable Rebellion of Jack Cade: and the Duke of Yorke's first claim unto theCrowne (printed by Thomas Creede for Thomas Millington). This text was republished in 1600 (byValentine Simmes for Millington) and in 1619. The 1619 text was printed with the 1595 octavo ofHenry VI, Part 3 under the title The Whole Contention betweene the two Famous Houses, Lancasterand Yorke. With the Tragicall ends of the good Duke Humfrey, Richard Duke of Yorke, and KingHenrie the sixt, as part of William Jaggard's "False Folio" (printed by Thomas Pavier). The 1623 Foliotext of 2 Henry VI appears under the title The second Part of Henry the Sixt, with the death of theGood Duke Humfrey.

Additional information (publication): scholars are undecided as to the exact nature of the

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relationship between the 1594 The Contention and the 1623 2 Henry VI. There are four maintheories: The Contention is a bad quarto, a reported text constructed from memory based upon aperformance of 2 Henry VI; The Contention is an early draft of 2 Henry VI; The Contention is both abad quarto and an early draft (i.e. a reported text based upon a staging of an early draft of the play);The Contention is an anonymous source for 2 Henry VI. Originally, the bad quarto theory wasgenerally accepted by scholars. First suggested by Samuel Johnson in the original edition of ThePlays of William Shakespeare (1765), it remained the predominant theory until challenged byEdmond Malone in The Plays and Poems of William Shakespeare (1790), favouring the early drafttheory. In 1929, Peter Alexander and Madeleine Doran re-established the dominance of the badquarto theory.[36][37] Scholars have continued to debate the issue since then, with no realconsensus reached.[38][39][40] The source theory, originated by Georg Gottfried Gervinus in 1849has fallen out of favour in the twentieth and twentieth-first centuries.[41]

First recorded performance: although it is known that the play was definitely performed inShakespeare's day, adaptations dominated the stage throughout the seventeenth and eighteenthcenturies. The earliest known such adaptation was in 1681, with John Crowne's two-part play, Henrythe Sixth, The First Part and The Misery of Civil War.[42] Two more adaptations followed in 1723.The first was Humfrey Duke of Gloucester by Ambrose Philips, the second was Theophilus Cibber'sKing Henry VI: A Tragedy, both of which adapted scenes from 2 Henry VI.[43] Another adaptationfollowed in 1817, J.H. Merivale's Richard Duke of York; or the Contention of York and Lancaster,which used material from all three Henry VI plays, but removed everything not directly related toYork.[44] The earliest known production of the Shakespearean 2 Henry VI was on 23 April 1864 atthe Surrey Theatre, directed by James Anderson.[43]

Evidence: it is known that True Tragedy (i.e. 3 Henry VI) was on stage by June 1592. It is also knownthat True Tragedy was definitely a sequel to The Contention, meaning The Contention must alsohave been on stage by early 1592 at the latest. It is also thought that Henry VI, Part 1 was a newplay in March 1592.[45] If The Contention predates 1 Henry VI, the theatrical evidence would placethe likely date of 2 Henry VI as 1591.[46][47]

Henry VI, Part 3 (1591)

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