Thomas Middleton and Early Modern Textual Culture: A Companion to the Collected Works

I. Sven and Leif
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As we begin we hope, but by no means guarantee, that Sven and Leif will converge on the kind of verdict reviewers aim for, sometimes achieve, and often fudge. Let's begin by saying some obvious good things.

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A comprehensive companion to 'The Collected Works of Thomas Middleton', providing detailed introductions to and full editorial apparatus for the works themselves as well as a wealth of information about Middleton's historical and literary context. Thomas Middleton and Early Modern Textual Culture is not only a companion to The Collected Works of Thomas Middleton, which every scholar of Renaissance​.

Not only is this the first twenty-first-century Middleton, it is the first attempt ever at a comprehensive Middleton edition, and the first major edition since the nineteenth century. It combines a sophisticated view of the complexities of authorship with a large-scale attempt to democratize the process of editing.

An Interview with Peter Boxall, author of 'The Cambridge Companion to British Fiction: 1980-2018'

It is, in effect, an innovative social project, as well as an innovative textual project. It provides convenient if weighty access to all work currently ascribed to Middleton.

Thomas Middleton: The Collected Works and Companion: The Owl's Almanac - University of St Andrews

The Companion provides important general essays, with substantive discussion of the textual issues in each work. While it is not the case with any recent one-or two-volume edition of the other comparably important English Renaissance dramatists—Shakespeare, Jonson, Marlowe—that the biographical and scholarly materials included in the edition will form the basis of scholarly work on their authors, this is likely to be so with Middleton, and the materials provided do form a helpful basis for such work.

It is now possible to teach a graduate seminar or undergraduate lecture course on Middleton far more conveniently than ever before.

enter site Moreover, the general reader can feel that some parts of the edition—Gary Taylor's introduction, for example—encourage and provide a basis for nonexpert interest in Middleton. But wouldn't most of these interests—those of students and teachers of Renaissance drama, and those of general readers—have been better served by an edition that was more conventional, more uniform, and less weighed down literally with such oddities as an unannotated, original-spelling, virtually unpunctuated Macbeth?