It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.
Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them.
The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater.
I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.
Michael Witmore
Director, Folger Shakespeare Library
Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of
Hamlet
, two of
King Lear
,
Henry V
,
Romeo and Juliet
, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.
Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See
The Tempest
, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.
The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from
Othello
: “
If she in chains of magic were not bound,
”), half-square brackets (for example, from
Henry V
: “With
blood
and sword and fire to win your right,”), or angle brackets (for example, from
Hamlet
: “O farewell, honest
soldier.
Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.
Because the Folger Digital Texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.
The nautical tale of a wandering prince,
Pericles
is narrated by John Gower, a poet from the English past. Gower explains that Pericles, Prince of Tyre, hopes to win the hand of a princess in Antioch. When Pericles learns that she and the king, her father, are lovers, he flees for his life.
Pericles brings grain to Tarsus during a famine, but loses his ships and men in a storm. In Pentapolis, Pericles wins a tournament and marries the king’s daughter, Thaisa. With Thaisa pregnant, she and Pericles sail for Tyre. Thaisa bears a daughter, Marina, at sea, but apparently dies. Her coffin drifts ashore at Ephesus, where she is revived and becomes a priestess of Diana.
Pericles leaves the baby Marina with the king and queen of Tarsus. Fourteen years later, Marina, kidnapped by pirates, is sold to a brothel, but her eloquence protects her. Told that she has died, a grief-stricken Pericles rediscovers her. Guided by a vision from the goddess Diana, Pericles and Marina reunite with Thaisa.
Gower
, fourteenth-century poet and Chorus of the play
Pericles
, prince of Tyre
Thaisa
, princess of Pentapolis and wife to Pericles
Marina
, daughter of Pericles and Thaisa
Three other
LORDS
of Tyre
Antiochus
, king of Antioch
Daughter
, princess of Antioch
Thaliard
, nobleman of Antioch
Messenger
Cleon
, governor of Tarsus
Dionyza
, wife to Cleon
Leonine
, servant to Dionyza
A
Lord
of Tarsus
Three
Pirates
Simonides
, king of Pentapolis
Three
Fishermen
Marshal
Five
Knights
, suitors for the hand of Thaisa
Lords
of Pentapolis
Lychorida
, attendant to Thaisa and, later, to Marina
Two
Sailors
, mariners onboard ship from Pentapolis
Lord Cerimon
, a wiseman/physician in Ephesus
Philemon
, servant to Cerimon
Two
Suppliants
Two
Gentlemen
of Ephesus
Servant
Diana
, goddess of chastity
Lysimachus
, governor of Mytilene
Pander
, owner of brothel
Bawd
, mistress of brothel and wife to Pander
Bolt
, servant to Pander and Bawd
Two
Gentlemen
, visitors to brothel
Tyrian
Sailor
Sailor
from Mytilene
Gentleman
of Tyre
Lord
of Mytilene
Followers of Antiochus, Attendants to Pericles, Attendants to Simonides, Squires to the five Knights, Tyrian gentlemen, Citizens of Tarsus, Ladies of Pentapolis, Servants to Cerimon, Companion to Marina, Priestesses in Diana’s temple, Messenger from Tyre