John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work contains a lengthy and lively introduction, main text, and substantial notes and glossary.

据英国女编剧、莎剧研究专家宝琳·基尔南（Pauline Kiernan）在她的新著《咸湿莎士比亚》（Filthy shakespeare，2006）中统计，莎士比亚作品中涉及女性身体私处的双关词汇短语概有180种以上，包括“玫瑰”“指环”、“花园”、“鸟窝”、“水井”、“O”和“ pain”（西班牙）等等让人摸得着头脑和根本摸不着头脑的各种说法。事关男性“阿物”的莎士比亚专用名词更是多达200个以上。此外另有700多种涉及其它淫秽含义的双关词句。要破解这些密码需要有极其广泛的知识面。比如《罗密欧与朱丽叶》第二幕第一场中，茂丘西奥（莎士比亚曾暗示他的"同志"倾向）那段著名的台词，台词提及"罗萨琳"（罗密欧的前情人），我们的中文译者把他弄成一段文艺青年式的呓语："爱情如果是盲目的，就射不中靶。此刻他该坐在枇杷树下了，希望他的情人就是他口中的枇杷。--啊，罗密欧，但愿，但愿她真的成了你到口的枇杷！" 但实际上这里却是一段十足放荡的淫秽玩笑，版本校勘者发现"etcaetera"（etcetera，及其它等等）原来是一个被替换的词（用这种牛头不对马嘴的词来替换，改动者如果不是本身文字功夫拙劣，一定是个幽默的人）。更早先的剧本稿显示这里原先是另外一个词组--openarse，"openarse"是一个俚俗的叫法，它指的是一种水果--欧楂果，也即诗句前面提到的"medlar"，莎士比亚显然双关地在使用这个词组，"arse"的意思是"屁股"，由于这个双关语把本该隐藏的意思表露在外（欧楂果本身就是因为形状像一个屁股才被说成"openarse"），所以剧本编订者忍无可忍，索性给它来个"及其它"。"Poperin"是对"poperinghe"（比利时一城镇的古名）的故意缩写，那地方盛产一种梨子，据说形状颇有几分像男性的那个"阿物"（尤其在某种特殊状态下的），于是"Poperinpear"（Poperin的梨子）的意思恰好对应着前面的"openarse"，不仅如此，"popp'rin'pear"的读音如果被某个心领神会的演员说出来，几乎可以跟"popinher"（猛然放进她）差不多。到这里，读者再回过头去阅读整段台词，意思昭然若揭：爱情如果盲目，就射不中靶（读者对于"靶"这个词最好具有更多一点想象力），此刻他该坐在欧楂树下，希望他的情妇就是那种水果--她们把那叫做"medlars"（欧楂果），而他们暗自好笑。罗密欧啊，但愿她是，O（"O"这个字母当然也是双关的），但愿她是"openarse"（欧楂果及其它），而你是"popp'rin'pear"(比利时的那个进口梨子)。

In a period of ten years, Shakespeare wrote a series of tragedies that established him, by universal consent, in the front rank of the world?s dramatists. Critics have praised either Hamlet or King Lear as the greatest of these; Ernst Honigmann, in the most significant edition of the play for a generation, asks: why not Othello? The third of the mature tragedies, it contains, as Honigmann persuasively demonstrates, perhaps the best plot, two of Shakespeare?s most original characters, the most powerful scene in any of the plays and poetry second to none. Honigmann?s cogent and closely argued introduction outlines the reasons both for a reluctance to recognize the greatness of Othello and for the case against the play. This edition sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history. Honigmann examines the major critical issues, the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources and the conundrum of ?double time?. 'Honigmann's extensive knowledge illuminates this play at every turn, making this the best edition of Othello now available.' Brian Vickers, Review of English Studies

This edition of one of Shakespeare's best known and most frequently performed plays argues for Julius Caesar as a new kind of political play, a radical departure from contemporary practice, combining fast action and immediacy with compelling rhetorical language, and finding a clear context for its study of tyranny in the last decade of the reign of Elizabeth 1. The richly experimental verse and the complex structure of the play are analysed in depth, and a strong case is made for this to be the first play to be performed at Shakespeare's Globe Theatre.'Daniell's edition is a hefty piece of serious scholarship that makes a genuine contribution.'Eric Rasmussen, University of Nevada at Reno, Shakespeare Survey'This is a stimulating new look at a play which is too often exhibited in a critical museum.' Paul Dean, English Studies

The Wordsworth Classics' Shakespeare Series, with Romeo and Juliet, Henry V and The Merchant of Venice as its inaugural volumes, presents a newly-edited sequence of William Shakespeare's works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal. Its lyricism, comedy (both broad and subtle) and magical transformations have long made A Midsummer Night's Dream one of the most popular of Shakespeare's works. The supernatural and the mundane, the illusory and the substantial, are all shimmeringly blended. Love is treated as tragic, poignant, absurd and farcical. 'Lord, what fools these mortals be!', jeers Robin Goodfellow; but the joke may be on him and on his master Oberon when Bottom the weaver, his head transformed into that of an ass, is embraced by the voluptuously amorous Titania. Recent stage-productions of A Midsummer Night's Dream have emphasised the enchanting, spectacular, ambiguous and erotically joyous aspects of this magical drama which culminates in a multiple celebration of marriage.

Folger Shakespeare Library The world's leading center for Shakespeare studies Each edition includes: • Freshly edited text based on the best early printed version of the play • Full explanatory notes conveniently placed on pages facing the text of the play • Scene-by-scene plot summaries • A key to famous lines and phrases • An introduction to reading Shakespeare's language • An essay by an outstanding scholar providing a modern perspective on the play • Illustrations from the Folger Shakespeare Library's vast holdings of rare books Essay by Susan Snyder The Folger Shakespeare Library in Washington, D.C., is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs.