Over the last two decades there has been a resurgence of theatrical interest in Shakespeare's Pericles, which has been rescued from comparative neglect and is now frequently performed. This development is charted in the introduction to this edition, which differs radically from any other currently available. Doreen DelVecchio and Antony Hammond reject the critical orthodoxies of a corrupt text and divided authorship. Instead they show the play to be a unified aesthetic experience. The result is a view of Pericles far more enthusiastic than that of other editors.
