Three decades of controversy in Shakespeare studies can be summed up in a single question: Was Shakespeare one of a kind? On one side of the debate are the Shakespeare lovers, the bardolatrists, who insist on Shakespearers"s timeless preeminence as an author. On the other side are the theater historians who view modern claims of Shakespearers"s uniqueness as a distortion of his real professional life. For these scholars, the bardolatrous emphasis on "Shakespeare only" blinds us to the inescapably social nature of Renaissance drama. Jeffrey Knapp shows how these seemingly antithetical perspectives on Shakespeare can and should be combined. InShakespeare Only, Knapp draws on an extraordinary array of historical evidence to reconstruct Shakespearers"s authorial identity as Shakespeare and his contemporaries understood it. He argues that Shakespeare tried to adapt his own singular talent and ambition to the collaborative enterprise of drama by imagining himself as uniquely embodying the diverse, fractious energies of the popular theater. Rewriting our current histories of authorship as well as Renaissance drama,Shakespeare Onlyrecaptures a sense of the creative force that mass entertainment exerted on Shakespeare and that Shakespeare exerted on mass entertainment.