1. SHAKESPEARE AFTER SHAKESPEARE
First folio (1623)
Divides 36 plays into comedies, tragedies, histories. Prior to this, some 18 published individually. Folio reliable text for most. Didn’t include Pericles or Two Noble Kinsman (Shakespeare wrote neither alone).
Second folio (1632)
Lots of alterations to the language.
A copy of the first folio

2. THE STATE OF PLAY IN 1660
Collected edition of Shakespeare’s plays not reprinted since 1632.
Many old plays published, inc. Beaumont and Fletcher, in the 18 yrs between theatres closing and reopening ( ). But just 3 of WS’s were reprinted: Merchant of Venice (1652), Othello (1655), King Lear (1655).
During the ban on public performance, we know there were covert performances of plays by Jonson, Fletcher, Beaumont, Killigrew etc. But no recorded performance of Shakespeare’s plays.
Did survive in “drolls”. 26 such pieces published as a collection in 1662; just 3 were from WS’s plays.
No biography of Shakespeare. All that was known about him came from the 1623 folio and its 1632 reprint. No criticism – first such was published in 1664 (by Margaret Cavendish).
John Fletcher and Francis Beaumont far more popular (and critically regarded): Philaster, The Maid's Tragedy, and A King and No King. Important point that B and F were, unlike WS, gentlemen.

3. SO, WHAT CHANGED?
William Davenant an important figure. Likely met Shakespeare and certainly old enough (born 1606) to have been familiar with theatre of Shakespeare’s time. Was he Shakespeare’s godson? Even his illegitimate son?
Arrival of the actress: Shakespeare’s plays have good parts for women in comparison with other older plays. Margaret Hughes, playing Desdemona in Othello in 1660, is believed to be the first professional woman to perform on the public stage.
Publication of the third folio in 1663, with a second issue of this in 1664.
This now includes 7 plays not in the first folio (only Pericles is actually by WS).

4. BUT…
Between 1660 and 1700 the plays of Beaumont and Fletcher were still more popular (i.e. more regularly performed).
Not until the eighteenth century that Shakespeare becomes Shakespeare.
Samuel Pepys writes in his diary on 29 Sept that he went to:
“the King's Theatre, where we saw “Midsummer's Night's Dream [sic],” which I had never seen before, nor shall ever again, for it is the most insipid ridiculous play that ever I saw in my life. I saw, I confess, some good dancing and some handsome women, which was all my pleasure.”