Collected editions of Shakespeare

The First Folio

The first collected edition of Shakespeare is customarily called the First Folio, after its printing format. The actual title was Mr. William Shakespeares Comedies, Histories, & Tragedies. It was edited by his colleagues John Heminge and Henry Condell, and published in 1623, some years after his death. The editors claim that it includes all his plays. They make no mention one way or the other of collaborations with other writers, or of works other than plays. It contains 36 plays, arranged as follows.

Comedies:

• The Tempest
• The Two Gentlemen of Verona
• The Merry Wives of Windsor
• Measure for Measure
• The Comedy of Errors
• Much Ado About Nothing
• Love's Labour's Lost
• A Midsummer Night's Dream
• The Merchant of Venice
• As You Like It
• The Taming of the Shrew
• All's Well That Ends Well
• Twelfth Night
• The Winter's Tale

Histories:

• King John
• Richard II
• Henry IV, Part 1
• Henry IV, Part 2
• Henry V
• Henry VI, Part 1
• Henry VI, Part 2
• Henry VI, Part 3
• Richard III
• Henry VIII

Tragedies:

• Troilus and Cressida
• Coriolanus
• Titus Andronicus
• Romeo and Juliet
• Timon of Athens
• Julius Caesar
• Macbeth
• Hamlet
• King Lear
• Othello
• Anthony and Cleopatra
• Cymbeline

The titles listed above are the short forms by which the plays are commonly referred to. Some of them have fuller titles in the First Folio, and in some the title given in the table of contents is different from that given at the head of the play itself. Titles of histories and tragedies all include names of characters appearing in them; titles of comedies never do. (Some earlier editions of individual plays do not observe this practice.) The histories are arranged in historical order of the events depicted. The basis for the order of the other plays has not been established.

About half the plays had been previously published in separate editions (mostly quartos), some of them more than once: some anonymously, others under Shakespeare's name or initials.

Historical evolution

A number of editions were published later in the 17th century. Their editors emended what they believed to be misprints. They simply used their personal judgment, not having any other sources to refer to. A major change took place in 1664, when 7 more plays were added. All of these had been separately published in Shakespeare's lifetime, and under his name or initials (which were shared with a minor writer named Wentworth Smith).

In the 18th century, editors started comparing the Folio with the quartos. They discovered substantial differences in some plays. Passages, even whole scenes, were found in one version but not the other. They dealt with this by creating a conflated text including the passages from both versions. This remained standard practice until recently.

They disagreed in the contents of their editions, on whether the 7 added plays were included, and likewise non-dramatic poems (separate collected editions of Shakespeare poems had appeared since 1640). They disagreed even more on what works were by Shakespeare, and which were not: their stated opinions on this often differed from what they actually included. These 18th-century editions were multi-volume ones. They established the basic tradition of collected editions, down to the spelling, which was much more varied in 1623.

Eventually a consensus was arrived at, producing a "canon" of Shakespeare's works followed in most 19th and 20th century editions, consisting of the following:

• plays
  • the 36 plays of the First Folio
  • Pericles, Prince of Tyre, which had been published under Shakespeare's name in 1609. A "novelization" had appeared the previous year under the name of George Wilkins. This was one of the 7 plays added in 1664
• poems
  • Venus and Adonis
  • the Rape of Lucrece
  • the Passionate Pilgrim (the later part of this bears the heading Sonnets to Sundry Notes of Music, and this is sometimes listed separately in tables of contents)
  • the Phoenix and the Turtle (this title was not used until early in the 19th century; before that, the poem had appeared in various editions without a title)
  • a sequence of 154 sonnets
  • a Lover's Complaint

The 19th century returned to 1-volume editions. These usually followed the First Folio arrangement, with Pericles added to the tragedies and the poems collected at the end. An 1877 edition was arranged in what its editor believed to be the order Shakespeare actually wrote. A number of more recent editions have followed this practice, with some disagreements on the order.

In the 20th century, scholarship progressed to minutely detailed studies of the handwriting and printing of Shakespeare's time, so as to get more exact ideas of what misprints were likely. Most famously, Charlton Hinman spent 20 years on a large 2-volume study of the printing and proofreading of the First Folio. He concluded that there were five different compositors involved at the printing house, and identified their individual styles and which passages they set. Such work was taken into account in updating the text.

More recently, detailed stylistic studies have reopened the question of the "canon" of Shakespeare. There is no longer an agreed canon followed in most editions. Editors make their own decisions. Most scholars now agree that a number of plays (17 according to the latest Oxford edition), both inside and outside the traditional canon, and The Passionate Pilgrim, are partly by Shakespeare and partly by other writers, though they frequently disagree on details. Editors have to decide whether to include all, part or none of each such work. The authenticity of A Lover's Complaint has been questioned, and a number of other works have been suggested as candidates for inclusion.

One widely agreed change is the inclusion in most recent editions of a 38th play. The Two Noble Kinsmen was first published in 1634, under the names of John Fletcher and William Shakespeare, both dead by then. Only a few editions included this until recently. A number of other plays, parts of plays, and short poems are also included in various recent editions.

A further recent development is the questioning of the tradition of conflated texts. Editors now have to decide whether to follow Folio, quarto or conflated text for each relevant play.

Current editions

There are numerous reissues of old editions available, ranging from budget ones (which sometimes give no indication of the source text used) to deluxe ones. Mention will be made here only of the facsimile edition of the First Folio published by Norton.

The Riverside Shakespeare (not to be confused with an 1883 edition with the same name) was first published in 1974. A 2nd edition appeared in 1997. It rearranges the plays, with a new genre, called romances, added, comprising plays previously classed as comedies and tragedies. Each genre is arranged chronologically.

The Pelican Shakespeare was originally published over many years, starting in 1956, with each play in a separate volume. The contents and arrangement of the 1-volume edition (2002) are largely traditional, but with some changes: the poems are at the beginning; each genre is arranged chronologically; and Troilus and Cressida, Cymbeline and Pericles are reclassified from tragedy into comedy.

The Royal Shakespeare Company's Complete Works (2007) describes itself as the first new edition of the First Folio in about three centuries. The 36 plays are arranged as in the original. The editors correct what they believe to be misprints (but giving the text the benefit of the doubt where possible), modernize spelling and punctuation, tidy up the headings, and add material not in the First Folio in smaller (though not too small) type: at the ends of plays there are quarto passages omitted in the Folio, and full texts of songs indicated there by opening words only; at the end there are Pericles, by Shakespeare and Wilkins, The Two Noble Kinsmen, by Shakespeare and Fletcher, an addition to the manuscript of Sir Thomas More believed to be in Shakespeare's handwriting, and poems (omitting Passionate Pilgrim and Lover's Complaint). In 2013 this edition was supplemented by a separate volume of 10 plays the editors believe contain, or may contain, comparatively small contributions by Shakespeare. A number of these are included in whole or in part in various main editions.

The 2nd Arden edition was published in 38 volumes over the period 1951-82. A 3rd edition was started in 1995. The most recent 1-volume edition (2011), which is about half each 2nd edition and 3rd, arranges the plays alphabetically for ease of finding. Individual editors were allowed to decide for each play which text to follow.

David Bevington's edition (7th edition 2013) is arranged similarly to Riverside. This edition is distinctive among recent editions in being the work of a single editor.

The New Cambridge Shakespeare is in 48 volumes, including alternative editions of some plays.

The 3rd Norton edition (2015), unlike its predecessors, is an independent edition, not based on Oxford. Unusually for a one-volume edition, it includes alternative versions of some plays.

The current edition of the Oxford Shakespeare (2016-17) is currently in three parts, available separately. The Modern Critical Edition (2016) contains one text of each work included (some works are only partially included); in deciding between quarto and folio texts, it simply chooses the longer (as a whole, not a conflated text with the longer version of every passage). The works are arranged in order of writing and edited using modern spelling. This edition also includes surviving original musical scores for some songs in plays. The Critical Reference Edition (2017) is in two volumes, and is arranged in order of preparation of source texts, with those dating to Shakespeare's lifetime in the first volume and posthumous sources in the second. The third part, the Authorship Companion (2017) discusses questions of authorship in more detail. It is planned to add a collection of all variants as a further part.