Edited, introduced and annotated by Cedric Watts, M.A., Ph.D., Emeritus Professor of English, University of Sussex. The Wordsworth Classics' Shakespeare Series presents a newly-edited sequence of William Shakespeare's works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal. Much Ado About Nothing has long been celebrated as one of Shakespeare's most popular comedies. The central relationship, between Benedick and Beatrice, is wittily combative until love prevails. Broader comedy is provided by Dogberry, Verges and the watchmen. The drama ranges between the destructively sinister and the lyrically romantic, giving the whole a complex and sometimes problematic character. Numerous revivals, in the theatre and on screen, have displayed the lively variety and interpretative openness of this engaging comedy.

Rome was a recurring theme throughout Shakespeare's career, from the celebrated Julius Caesar, to the more obscure Cymbeline. In this book, Paul Innes assesses themes of politics and national identity in these plays through the common theme of Rome. He especially examines Shakespeare's interpretation of Rome and how he presented it to his contemporary audiences. Shakespeare's depiction of Rome changed over his lifetime, and this is discussed in conjunction with the emergence of discourses on the British Empire. Each chapter focuses on a play, which is thoroughly analysed, with regard to both performance and critical reception. Shakespeare's plays are related to the theatrical culture of their time and are considered in light of how they might have been performed to his contemporaries. Innes engages strongly with both the plays the most current scholarship in the field.

Kein Stein bleibt auf dem anderen, seit Alik Sokolov als Kredithai in Deutschland das Zepter schwingt. Was Wunder aber auch bei den Wucherzinsen fur Start-ups wie Mobit, ein Unternehmen, das drauf und dran ist, mit der klassischen Teleportation in die Annalen einzugehen. Und selbst wenn die Autohersteller demnach wenigstens noch uber den Personenverkehr gebieten, haben die so schon durch den chinesischen Vorstoss von Middle Kingdom genug Probleme am Hals. Der Grund jedenfalls fur Kleinanleger wie Andrey Zosimoff, die Mittel aus heimischen Traditionsunternehmen abzuziehen und sie stattdessen Zockern wie Alik Sokolov und sohin Mobit anzuvertrauen. Paradoxerweise investiert Mobit allerdings die erhaltenen Gelder in Middle Kingdom. Und erst scheint die Rechnung auch aufzugehen, ist der Borsengang der Chinesen ein Mordserfolg und vermag Mobit mit dem Verkauf einzelner Papiere den Zahlungsaufforderungen Alik Sokolovs spielend nachzukommen. Wie sich freilich der MK Mini als Reinfall entpuppt und sich die institutionellen Investoren nach und nach von ihren Papieren trennen, ist die Kacke am Dampfen, ruhrt selbst eine Mutti, die Frau Bundeskanzlerin, vergeblich die Trommel ... Unter der Rose ist eine Politsatire, kurzweilig, spritzig, pfiffig, phasenweise spannend auch wie ein Thriller. Von Prostitution uber Mord bis hin zum schmahlichen Vertrauensmissbrauch und Ende einer Freundschaft bietet sie alles, um den Leser auf seiner Reise zur versohnlichen Losung bei Laune zu halten

Arden Early Modern Drama Guides offer students and academics practical and accessible introductions to the critical and performance contexts of key Elizabethan and Jacobean plays. Contributions from leading international scholars give invaluable insight into the text by presenting a range of critical perspectives, making these books ideal companions for study and research. Key features include: Essays on the play's critical and performance histories A keynote chapter reviewing current research and recent criticism of the play A selection of new essays by leading scholars A survey of learning and teaching resources for both instructors and students This volume offers a thought-provoking guide to Shakespeare's Richard II, surveying its critical heritage and the ways in which scholars, critics, and historians have approached the play, from the 17th to the 21st century. It provides a detailed, up-to-date account of the play's rich performance history on stage and screen, looking closely at some major British productions, as well as a guide to learning and teaching resources and how these might be integrated into effective pedagogic strategies in the classroom. Presenting four new critical essays, this collection opens up fresh perspectives on this much-studied drama, including explorations of: the play's profound preoccupation with earth, ground and land; Shakespeare's engagement with early modern sermon culture, 'mockery' and religion; a complex network of intertextual and cultural references activated by Richard's famous address to the looking-glass; and the long-overlooked importance to this profoundly philosophical drama of that most material of things: money.

Murder, Mayhem, and Madness-- Collected here are five of William Shakespeare's greatest tragedies Romeo and Juliet, Hamlet, Macbeth, Othello, and King Lear. These are the plays that made Shakespeare's reputation. Murder, deceit, treachery, and madness play out on the grand stage. Stories for the ages Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Fortune's Fool Here is William Shakespeare's brilliant play the Tragedy of Romeo and Juliet, set in Verona during a feud between the Capulets and the Montagues. Romeo, a Montague, falls desperately in love with Juliet, a Capulet, and the two secretly marry. Lyrical and poignant, this immortal play of star-crossed lovers will stay with you long after the play ends. 'Tis but thy name that is my enemy. Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name What's in a name? That which we call a rose By any other name would smell as sweet.