Best Selling Books by Stephen Orgel

The Reader in the Book is concerned with a particular aspect of the history of the book, an archeology and sociology of the use of margins and other blank spaces. One of the most commonplace aspects of old books is the fact that people wrote in them, something that, until very recently, has infuriated modern collectors and librarians. But these inscriptions constitute a significant dimension of the book''s history, and what readers did to books often added to their value. Sometimes marks in books have no relation to the subject of the book, merely names, dates, prices paid; blank spaces were used for pen trials and doing sums, and flyleaves are occasionally the repository of records of various kinds. The Reader in the Book deals with that special class of books in which the text and marginalia are in intense communication with each other, in which reading constitutes an active and sometimes adversarial engagement with the book. The major examples are works that are either classics or were classics in their own time; but they are seen here as contemporaries read them, without the benefit of centuries of commentary and critical guidance. The underlying question is at what point marginalia, the legible incorporation of the work of reading into the text of the book, became a way of defacing it rather than of increasing its value-why did we want books to lose their history?

How did plays from the popular theatre, written by an author better known as a poet, become the greatest literary monument in English? Renowned Shakespearean Stephen Orgel reveals how the transformation of Shakespeare''s scripts was a triumph of both editorial intervention and marketing. By no means the most admired playwright of his time, Shakespeare''s most popular work during his lifetime and for decades afterwards was the long poem Venus and Adonis, first published in 1593. It wasn''t until 1598 that Shakespeare''s name appeared on the title page of a book, so how did Shakespeare''s plays become the benchmark of English Renaissance drama? By examining the process of transformation from performance script to published book Orgel provides an accessible story of the making of Shakespeare''s reputation in print and of how the publication of his plays in a grand folio in 1623 made a radical claim for his plays as literature, in effect declaring his plays modern classics. With chapters on the poems, Romeo and Juliet, Hamlet, King Lear, Pericles and Macbeth, this book offers a number of case studies illustrating a variety of problems of dealing with the quartos, as well as how different a ''good'' text of a play was for Shakespeare''s readers and for modern scholars. It closes with an account of the production of the first folio, which, with the precedent of the Ben Jonson folio of 1616, effectively conferred classic status on this popular contemporary dramatist.

Why was England the only country in Europe to maintain an all-male public theater in the Renaissance? Stephen Orgel uses this question as the starting point of a fresh and stimulating exploration of the representation of gender in Elizabethan drama and society. At once provocative and witty, lucid and stylish, Impersonations will reshape our understanding of the Renaissance theater, and make us rethink our own inadequate categories of gender, power and sexuality.

The essential lyric works of the great Elizabethan playwright--newly revised and updated Though best known for his plays--and for courting danger as a homosexual, a spy, and an outspoken atheist--Christopher Marlowe was also an accomplished and celebrated poet. This long-awaited updated and revised edition of his poems and translations contains his complete lyric works--from his translations of Ovidian elegies to his most famous poem, "The Passionate Shepherd to His Love," to the impressive epic mythological poem "Hero and Leander." For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The Idea of the Book and the Creation of Literature explores the intersection of literary history and the history of the book. For several millennia, books have been the material embodiment of knowledge and culture, and an essential embodiment for any kind of knowledge involving texts. Texts, however, do not need to be books-they are not even necessarily written. The oldest poems were composed to be recited, and only written down centuries later. Much of the most famous poetry of the English Renaissance was composed in manuscript form to circulate among a small social circle. Plays began as scripts for performance. What happens to a play when it becomes a book, or to a collection of poems circulated among friends when it becomes a volume of sonnets? How do essays, plays, poems, stories, become Works? How is an author imagined? In this new addition to the Oxford Textual Perspectives series, Stephen Orgel addresses such questions and considers the idea of the book not simply as a container for written work, but as an essential element in its creation.

In this beautifully illustrated book, one of the foremost Shakespeareans of our time explores the ways in which Shakespeare has been imagined from his time to ours. Drawing on performance history, textual history and the visual arts (including a fascinating chapter on portraiture), Imagining Shakespeare displays throughout the cultural versatility, elegance, lucidity and wit which have become the hallmarks of Stephen Orgel''s style.

Presents a study of political theater in the English Renaissance, discussing the differences between a public playhouse and a private, or court theater, and looking at masques and the role of king in the Renaissance court.

How did the popular drama of Shakespeare''s age become literature? Every work that has survived from the theater of past ages has gone through some editorial process to make it available to readers. The book of the play is not the play on the stage; returning it to the stage for modern audiences is not a simple or straightforward process, nor can we simply read backwards from the texts that have come down to us to deduce what Shakespeare''s or Jonson''s (or Aristophanes''s or Sophocles''s) audiences saw. Editorial efforts since the first folio of 1623 have attempted to establish a correct, final text of Shakespeare''s plays, as the folio promises "the true, original copies." Yet the text in the theater changed constantly, as the actors adapted the plays to take into account their changing audiences. The publisher of the folio of Beaumont and Fletcher''s plays in 1647 acknowledges that his texts include more than the plays on the stage--"all that was acted and all that was not." In performance, the play at the Globe was not the play at court, nor was any play the same when it was revived in a subsequent season. Moreover, performances always involved improvisation on the part of the actors, and the continual response (often vocal and energetic) of the audience. This book is about what happens to plays when they become books.

As England entered the Renaissance and as humanism, with its focus on classical literature and philosophy, informed the educational system, English intellectuals engaged in a concerted effort to remake the culture, language, manners—indeed, the whole national style—through adapting the classics. But how could English literature, art, and culture, become "classical," not only in imitating the ancients, but in the sense subsequently applied to music: "classical" as opposed to popular, as formal, serious, and therefore as good? For several decades in the sixteenth and early seventeenth centuries, Stephen Orgel writes, the return to the classics held out the promise of refinement and civility. Poetry was to be modeled on Greek and Roman examples rather than on the great English medieval works, which though admirable, lacked "correctness." More than poetry was at stake, however, and the transition would not be easy. Classical rules seemed the wave of the future, rescuing England from what was seen as the crudeness and the sheer popularity of its native traditions, but advocacy was tempered with a good deal of ambivalence: classical manners and morals were often at variance with Christian principles, and the classicism of the age would need to be deeply revisionist. "Christian humanism" was never untroubled, Orgel writes, always an unstable or even paradoxical amalgam. In Wit''s Treasury, one of our foremost interpreters of Renaissance literature and culture charts how this ambivalence yielded the rich creative tension out of which emerged an unprecedented flowering of drama, lyric, and the arts. Orgel has here written a book that will appeal to anyone interested in English Renaissance art and literature, and particularly in the cultural ferment that produced Shakespeare, Marlowe, Spenser, Jonson, and Milton.

In his own time, Shakespeare was not a monument, but a man of the theater whose plays were less finished artifacts than works in process. In contrast to a book, a thing we have come to think of as final and achieved, a play is a work for performance, with each performance based only in part on a text we call a script. That script may well have had imperfections that the actors may or may not have noticed as they turned it into a performance. There were multiple versions of the scripts and never a "final" one. Every revival of a play—indeed, every subsequent performance—was and always will be different. Nevertheless, when we study Shakespeare, we are likely to come to him via printed texts that are scripts masquerading as books, and the impulse is to turn them into finished artifacts worthy of their author''s dignity. In The Invention of Shakespeare, and Other Essays Stephen Orgel brings together twelve essays that consider the complex nature of Shakespearean texts, which often include errors or confusions, and the editorial and interpretive strategies for dealing with them in commentary or performance. "There is always some underlying claim that we are getting back to ''what Shakespeare actually wrote,''" Orgel writes, "but obviously that is not true: we clarify, we modernize, we undo muddles, we correct or explain (or explain away) errors, all in the interests of getting a clear, readable, unproblematic text. In short, we produce the text that we want him to, or think he must have written. But one thing we really do know about Shakespeare''s original text is that it was hard to read."

Why did Queen Elizabeth I compare herself with her disastrous ancestor Richard II? Why would Ben Jonson transform Queen Anne and her ladies into Amazons as entertainment for the pacifist King James? How do the concept of costume as high fashion and as self-fashioning, as disguise and as the very essence of theatre, relate to one other? How do portraits of poets help make the author readers want, and why should books, the embodiment of the word, be illustrated at all? What conventions connect image to text, and what impulses generated the great art collections of the early seventeenth century? In this richly illustrated collection on theatre, books, art and personal style, the eminent literary critic and cultural historian Stephen Orgel addresses himself to such questions in order to reflect generally on early modern representation and, in the largest sense, early modern performance. As wide-ranging as they are perceptive, the essays deal with Shakespeare, Jonson and Milton, with Renaissance magic and Renaissance costume, with books and book illustration, art collecting and mythography. All are recent, and five are hitherto unpublished.

Orgel''s writings on Shakespeare, Marlowe, Jonson and the English court both unpack the notions often taken for granted - the authority of text, character, playwright - and explore the relationship between the stage drama and the state drama.