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First published in the Folio of 1623, William Shakespeare’s “Antony and Cleopatra” is the historical drama based on the lives of its title characters. Based upon the historical accounts contained within Plutarch’s “Lives”, this dramatic tragedy follows the relationship between Mark Antony and Cleopatra from the time of the Sicilian revolt up until Cleopatra’s suicide. At the outset of the play Mark Antony is part of the ruling Second Triumvirate of Rome and is living in Egypt engaged in an affair with the beautiful Egyptian Queen, Cleopatra. When the word that his wife has died and that Pompey is raising an army to challenge the authority of the triumvirate, Mark Antony returns to Rome to help manage the situation. What follows is a brilliant depiction of the intrigue surrounding the struggle for power in ancient Rome and the conflict in which Mark Antony finds himself embroiled, between his duties as leader and his passionate desire for the enchanting Cleopatra. One of the bards more complex plays, “Antony and Cleopatra” is a work which defies simple classification. This edition is includes a preface and annotations by Henry N. Hudson, an introduction by Charles Harold Herford, and a biographical afterword.

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The second play in William Shakespeare’s tetralogy of plays which also includes “Richard II”, “Henry IV, Part 2”, and “Henry V”, “Henry IV, Part 1” is believed to have been written no later than 1597. A history play, the drama concerns the unquiet reign of Henry Bolingbroke. Following the usurpation of the throne, Henry IV is plagued with guilt over his role in the imprisonment and death of King Richard II. In order to resolve himself of this internal conflict Henry IV leads a crusade to the Holy Land. Meanwhile the King is troubled by his son’s behavior. The future King Henry V, the Prince of Wales, nicknamed Prince Hal, has forsaken the Royal Court in favor of spending his time in taverns with lowlifes, which brings into question his royal worthiness by the fellow nobleman of the royal court. Prince Hal is particularly captivated by Sir John Falstaff, a charismatic old drunk. The action of the play revolves around three groups. First there is the King and his council. Secondly there is a group of rebels comprised principally of the Percys and the Mortimers. Thirdly there is the Prince and his companions, who provide a comic relief from the serious action of the play. Ultimately the Prince abandons his carousing ways and assumes his royal duty as the conflict between the King and the rebels comes to a head at the Battle of Shrewsbury. This edition includes a preface and annotations by Henry N. Hudson, an introduction by Charles Harold Herford, and a biographical afterword.

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Considered by many as Shakespeare’s masterpiece and one of the greatest dramas of all time, “Hamlet” is the story of its titular character, the Prince of Denmark who discovers that his uncle, Claudius, is responsible for the murder of his father. Claudius has murdered Hamlet’s father, his own brother, in order to usurp the throne of Denmark and to marry Hamlet’s widowed mother. Sunk into a state of despair, Hamlet is torn between his grief over his father’s death and his desire for revenge. “Hamlet” is a work of great complexity and as such has drawn many different critical interpretations. Hamlet has been seen as a victim of circumstance, as an impractical idealist, as an opportunist, as the sufferer of a great melancholy, and as a man blinded by his own desire for revenge. Through the great deliberation with which Hamlet ponders his revenge, Shakespeare brilliantly dramatizes the complex philosophical and ethical issues that are at stake with such a violent action. The depth of characterization and literary craft that is exhibited in the work has elevated “Hamlet,” to a legendary status, one of the most influential works in all of English literature. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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One of William Shakespeare’s most farcical comedies, “The Comedy of Errors” is notable for its use of mistaken identity to achieve a slapstick comedic effect. Ripe with the bard’s characteristic word play, the comedy concerns the lives of two sets of identical twins that were accidentally separated shortly after their birth. The play begins by the elderly Syracusian trader Egeon relating the back story of his family. When Egeon was young he married Emilia who gave birth to two twin boys, known in the play as Antipholus of Ephesus and Antipholus of Syracuse. On the same day a poor woman also gave birth to two twin boys who were subsequently purchased as slaves by Egeon for his sons. During a sea voyage the family is besieged by a tempest and the two halves of the family, the mother with one son and slave, and the father with the other son and slave, are separated when they are rescued by two different boats. When Antipholus of Syracuse arrives in Ephesus with his slave Dromio, the two sets of twins have a series of chance encounters which results in a hilarious case of mistaken identity. One of Shakespeare’s shortest plays, “The Comedy of Errors” exhibits the bard at his comedic best. This edition includes a preface and annotations by Henry N. Hudson, an introduction by Charles Harold Herford, and a biographical afterword.

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Believed to have been written between 1610 and 1611, “The Tempest” is likely the last play written solely by Shakespeare. The story concerns the Magician Prospero, the rightful Duke of Milan, and his daughter, Miranda, who have been stranded on an island by Prospero’s jealous brother Antonio. The plot of “The Tempest” itself is however of less importance than in Shakespeare’s other works. Supernatural elements are introduced with great freedom, and the dramatist’s interest was clearly not in the reproduction of lifelike events. The presentation of character and the attractive picturing of the beauty of magnanimity and forgiveness are the things which, along with its delightful poetry, make the charm of this play. It is not to be wondered at that readers have frequently been led to find in the figure of the great magician, laying aside his robes and wonder-working rod in a spirit of love and peace toward all men, a symbol of the dramatist himself at the close of his great career; and it is surely legitimate to play with this idea without assuming that Shakespeare consciously embodied it. One can hardly conceive a more fitting epilogue to the volume which is the crown of the world’s dramatic literature than the romance of “The Tempest.” This edition is annotated by Henry N. Hudson and includes an introduction by Charles Harold Herford.

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Believed to be written in 1599, William Shakespeare’s “Julius Caesar” is one of several plays that the bard would write that were based upon Roman history. Closely based on actual events as chronicled in Plutarch’s “Lives”, it is the story of the tragic downfall of Julius Caesar and of those who conspired against him. The play begins with the celebration of Caesar’s return from defeating Pompey’s sons at the battle of Munda. When it is learned that Julius Caesar has been offered the crown of Rome by Mark Antony three times, and that each time he has refused it, it is believed that it is only a matter of time before he is to become King and thus dictator of Rome. Roman Senator Cassius is concerned about what such a coronation might mean for the people of Rome and begins to persuade fellow politician Brutus, who is also Caesar’s close friend, that they must prevent Caesar from gaining such power by assassinating him. A gripping historical drama “Julius Caesar” contains some of Shakespeare’s most memorable lines and is ranked as one of the playwright’s finest works. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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William Shakespeare’s “Twelfth Night,” is a classic comedy of mistaken identities, a device employed in a number of the bard’s plays, which is believed to have been written sometime between 1601 and 1602. When Viola is shipwrecked on the coast of Illyria she is separated from her twin brother Sebastian, who she mistakenly believes to be dead. With the help of the ship captain who rescues her, she enters into the service of Duke Orsino, who has fallen in love with Olivia, a wealthy countess whose father and brother have recently died. Olivia, stricken with grief, has promised herself to love no one until seven years have passed. The Duke employs Viola, now disguised as a young man named Cesario, to act as an intermediary between him and Olivia. The plan backfires though when Olivia, not realizing that Viola is in disguise, falls in love with her alter ego Cesario. Meanwhile Viola begins to develop feelings for the Duke. One of Shakespeare’s most loved comedies, “Twelfth Night” draws its title from the Christian festival of the same name. This edition is annotated by Henry N. Hudson and includes an introduction by Charles Harold Herford.

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A pastoral comedy, William Shakespeare’s “As You Like It,” is the story of a Duke, who is unjustly deposed by his younger brother Frederick, and flees to the Forest of Arden. The Duke’s daughter, Rosalind, remains behind at the court. When it is discovered that Orlando, the youngest son of the deceased Sir Rowland de Boys, has fallen in love with her, Orlando is forced to flee. Rosalind follows after him, with her cousin Celia, to the Forest of Arden where he has gone to join the deposed Duke. In order to avoid detection the two disguise their appearance, Rosalind as a young man, and Cecilia as a poor woman. In the forest they meet a variety of interesting characters, including most notably the melancholy Jaques, one of the deposed Duke’s noblemen, who speaks some of Shakespeare’s most memorable lines, including “All the world’s a stage.” While critics have debated the literary merits of “As You Like It,” it remains as one of Shakespeare’s most loved and often performed plays. This edition includes a preface and annotations by Henry N. Hudson and an introduction by Charles Harold Herford.

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Generally considered as one of Shakespeare’s best comedies, “Much Ado About Nothing” is believed to have been written near the middle of the bard’s career, sometime during 1598 or 1599. It is the story of Leonato, an Italian nobleman, his daughter, Hero, and his niece, Beatrice. Following the conclusion of a war Leonato welcomes into his house Don Pedro, his good friend; fellow soldiers of Don Pedro, Claudio and Benedick; as well as Don Pedro’s illegitimate brother, Don John. Quickly amorous relations develop between Claudio and Hero and later between Benedick and Beatrice. As wedding plans are being made for Claudio and Hero, Don John tricks Claudio into believing that Hero has been unfaithful. The wedding bliss is briefly interrupted until the truth is finally discovered and the play ends in a joyful double wedding. Thematically “Much Ado About Nothing” is primarily concerned with the fidelity of its characters. Through the use of a series of deceptions and disguises Shakespeare is at his best in creating a comically confounding set of circumstances. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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The influence of Euripides on the development of the dramatic genre cannot be overstated. Along with Sophocles and Aeschylus he is regarded as one of the three great Greek tragedians from classical antiquity. One of the most important of Euripides’ surviving dramas is “Medea”, the story of its title character, the wife of Jason of the Argonauts, who seeks revenge upon her unfaithful husband when he abandons her for a another bride. Set in Corinth sometime after Jason’s quest for the Golden Fleece, the play begins with Medea raging against her husband’s plans to marry Glauce, daughter of Creon, King of Corinth. Jason tries to explain his intent to marry Glauce as an effort to improve his status and that afterwards he intends to unify the two families taking Medea as his mistress. Medea however is unconvinced and pursues a path of murderous revenge. The play is controversial for its depiction of Medea murdering her own children as part of her revenge. This depiction was unconventional and not well received with the contemporary Athenian audience who expected the more traditional depiction of Medea’s children being killed by the Corinthians after her escape. Regardless of this unfavorable initial reaction, “Medea” has come to be regarded as one of the most important tragedies of classical antiquity. This edition is translated with an introduction and annotations by Gilbert Murray and includes a biographical afterword.

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