Following on from the phenomenally successful Shakespeare, The Movie, this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond. Shakespeare, The Movie, II:
*focuses for the first time on the impact of post-colonialism, globalization and digital film on recent adaptations of Shakespeare;
*takes in not only American and British films but also adaptations of Shakespeare in Europe and in the Asian diapora;
*explores a wide range of film, television, video and DVD adaptations from Almereyda's Hamlet to animated tales, via Baz Luhrmann, Kenneth Branagh, and 1990s' Macbeths, to name but a few;
*offers fresh insight into the issues surrounding Shakespeare on film, such as the interplay between originals and adaptations, the appropriations of popular culture, the question of spectatorship, and the impact of popularization on the canonical status of "the Bard."
Combining three key essays from the earlier collection with exciting new work from leading contributors, Shakespeare, The Movie, II offers sixteen fascinating essays. It is quite simply a must-read for any student of Shakespeare, film, media or cultural studies.

This title includes the full story with less dialogue for a fast-paced read. It's 11th century Scotland. Macbeth, Thane of Glamis, is one of King Duncan's greatest war captains. Upon returning from a battle with the rebellious Thane of Cawdor, Macbeth and Banquo encounter three witches, who prophecy that Macbeth will become Thane of Cawdor and then King. They also prophecy that Banquo will become the father of kings. When Lady Macbeth hears this, she is determined to push her husband to take fate into his own hands and make himself king by murdering Duncan. Macbeth is reluctant to harm Duncan. But, when the King makes arrangements to visit Macbeth's castle, the opportunity presents itself. Pressed on by his wife, Macbeth kills Duncan and blames the King's drunken attendants, who he also kills. However, Macbeth is racked with guilt and begins to see apparitions.When the body is discovered, Malcolm and Donalbain, the King's sons, are suspicious of Macbeth and flee for their lives. To everyone else, it looks as if the sons have been the chief conspirators and Macbeth is crowned King of Scotland. Banquo's suspicions grow, based on his encounter with the witches and Macbeth is wary of the second prophecy concerning Banquo's offspring. Macbeth hires assassins to kill Banquo and his son, Fleance. Banquo is murdered that night, but Fleance escapes. The bloody ghost of Banquo appears to Macbeth at a feast, tormenting his already guilty conscience. In addition, Macduff, once a comrade of Macbeth, has fled after the King's sons to England, as he also suspects Macbeth.In revenge, Macbeth butchers Macduff's entire household. Macduff and the King's sons raise an army in England and march against Macbeth, who is given another prophecy by the witches, as he prepares for the assault. They tell him his throne is safe until Birnam Wood comes to Dunsinane and he will not die by the hand of any man born of a woman. Macbeth now feels invincible. Lady Macbeth, on the other hand, has been slowly driven mad by her dreams, in the wake of Duncan's murder. She sleepwalks and eventually kills herself. Macbeth learns that many of his lords are deserting and joining Malcolm's army, which approaches Dunsinane under cover of boughs, which they've cut from the trees of Birnam Wood.Macbeth and Macduff eventually meet on the bloody battlefield. Macbeth laughs derisively, relating the witches' prophecy. But Macduff retorts that he was from his mother's womb untimely ripp'd and not (technically) of woman born. The play ends with the death of Macbeth and Malcolm is crowned King of Scotland.

There are many 'Shakespeares', argue the contributors to this, the second volume of Alternative Shakespeares and the different versions emerge in a wide variety of cultural contexts: race, gender, sexuality and politics amongst others. Alternative Shakespeares: Volume 2 consists of entirely new essays by some of the world's leading Shakespearean critics. The topics covered include: Sexuality and Gender, Language and Power, Textualilty and Printing, Race and Shakespeare's Britain, New Historicist Criticism and the 'Gaze' of the Audience. In abandoning the search for any final and definitive 'meaning' in any of Shakepeare's plays, the contributors to Alternative Shakespeares: Volume 2 present an exciting and ultimately liberating challeneg to Shakespeare studies.

KING. Let fame, that all hunt after in their lives, Live regist'red upon our brazen tombs, And then grace us in the disgrace of death; When, spite of cormorant devouring Time, Th' endeavour of this present breath may buy That honour which shall bate his scythe's keen edge, And make us heirs of all eternity. Therefore, brave conquerors- for so you are That war against your own affections And the huge army of the world's desires- Our late edict shall strongly stand in force: Navarre shall be the wonder of the world; Our court shall be a little Academe, Still and contemplative in living art. You three, Berowne, Dumain, and Longaville, Have sworn for three years' term to live with me My fellow-scholars, and to keep those statutes That are recorded in this schedule here. Your oaths are pass'd; and now subscribe your names, That his own hand may strike his honour down That violates the smallest branch herein. If you are arm'd to do as sworn to do, Subscribe to your deep oaths, and keep it too.

'Shakespeare invented the human as we continue to know it' Harold Bloom Set in a city torn apart by feuds and gang warfare, Shakespeare's immortal drama tells the story of star-crossed lovers, rival dynasties and bloody revenge. Romeo and Juliet is a hymn to youth and the thrill of forbidden love, charged with sexual passion and violence, but also a warning of death: a dazzling combination of bawdy comedy and high tragedy. Used and Recommended by the National Theatre General Editor Stanley Wells Edited by T. J. B. Spencer Introduction by Adrian Poole

KENT. I thought the King had more affected the Duke of Albany than Cornwall. GLOUCESTER. It did always seem so to us; but now, in the division of the kingdom, it appears not which of the Dukes he values most, for equalities are so weigh'd that curiosity in neither can make choice of either's moiety. KENT. Is not this your son, my lord? GLOUCESTER. His breeding, sir, hath been at my charge. I have so often blush'd to acknowledge him that now I am braz'd to't.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

FLAVIUS. Hence, home, you idle creatures, get you home. Is this a holiday? What, know you not, Being mechanical, you ought not walk Upon a laboring day without the sign Of your profession? Speak, what trade art thou? FIRST COMMONER. Why, sir, a carpenter. MARULLUS. Where is thy leather apron and thy rule? What dost thou with thy best apparel on? You, sir, what trade are you?

Shakespeare's sonnets are amongst the most admired, complex and beautiful poems ever written. This gorgeous new collection includes sonnets from Romeo and Juliet, Henry V and Love's Labour's Lost, to create a comprehensive collection from the greatest writer of the English poetic form. Little treasures, the FLAME TREE COLLECTABLE CLASSICS are chosen to create a delightful and timeless home library. Each stunning, gift edition features deluxe cover treatments, ribbon markers, luxury endpapers and gilded edges. The original text is accompanied by a Glossary of Victorian and Literary terms produced for the modern reader.

This second edition of Othello has a new, illustrated introduction by leading American scholar Ayanna Thompson, which addresses such key issues as race, religion and gender, as well as looking at ways in which the play has been adapted in more recent times. Othello is one of Shakespeare's great tragedies-written in the same five-year period as Hamlet, King Lear, and Macbeth. The new introduction attends to the play's different meanings throughout history, while articulating the historical context in which Othello was created, paying particular attention to Shakespeare's source materials and the evidence about early modern constructions of racial and religious difference. It also explores the life of the play in different historical moments, demonstrating how meanings and performances develop, accrue, and metamorphose over time. The volume provides a rich and current resource, making this best-selling play edition ideal for today's students at advanced school and undergraduate level.

KING JOHN. Now, say, Chatillon, what would France with us? CHATILLON. Thus, after greeting, speaks the King of France In my behaviour to the majesty, The borrowed majesty, of England here. ELINOR. A strange beginning- 'borrowed majesty'! KING JOHN. Silence, good mother; hear the embassy.

Shakespeare everyone can understand--now in this new EXPANDED edition of MIDSUMMER NIGHT'S DREAM! Why fear Shakespeare? By placing the words of the original play next to line-by-line translations in plain English, this popular guide makes Shakespeare accessible to everyone. And now it features expanded literature guide sections that help students study smarter. The expanded sections include: Five Key Questions: Five frequently asked questions about major moments and characters in the play. What Does the Ending Mean?: Is the ending sad, celebratory, ironic . . . or ambivalent? Plot Analysis: What is the play about? How is the story told, and what are the main themes? Why do the characters behave as they do? Study Questions: Questions that guide students as they study for a test or write a paper. Quotes by Theme: Quotes organized by Shakespeare's main themes, such as love, death, tyranny, honor, and fate. Quotes by Character: Quotes organized by the play's main characters, along with interpretations of their meaning.

Part of a series of Shakespeare editions, providing the complete original text as well as support materials for teachers and pupils. It features a National Curriculum study programme with activities "before", "during" and "after" encountering the text. Opening double page spreads for each act provide a synopsis of that act and, where appropriate, photographs from productions. Notes are given on left-hand pages, opposite the text.

One of a series on Shakespeare's original texts, including facsimile pages, this version of "Henry V" is claimed to be, in some ways, the most authentic version of the play that we have. Included are an introduction, notes, and a theoretical, historical and contextual critique. The original text - or First Quarto - of "Henry V", published in 1600, is missing the Chorus, a dramatic device which recent criticism has used to suggest a strikingly modern view of history and politics. These and other significant changes mean that critics can no longer assume that the play presents a distanced, ironic perspective on its own political and military action. If Elizabethan audiences saw in performance something closer to the First Folio than the 1623 Folio text, then their dramatic engagement with history was of a kind very different from that of the play's 20th-century interpreters. This new edition makes available the original text of "Henry V", in all its theatrical simplicity and historical difference.

This book is the first to argue that the Rival Poet of Shakespeare's Sonnets is the well-known young Elizabethan writer Richard Barnfield (1574-1620), long suspected to have been one of Shakespeare's "private friends" (as they were termed by Francis Meres in 1598), with whom (as Meres also tells us) Shakespeare shared some of his sonnets. This is also the first book to argue that William Stanley (1561-1642), sixth earl of Derby, is the young man to whom they addressed their respective sonnets and other love poems in the period c. 1592-1595. In making these identifications, this is the first book to examine in detail the dialogue between Shakespeare's Sonnets and three of Barnfield's books of poetry (all published within a little more than one year)--a dialogue only known to be discussed in a conference paper and one other book.William Shakespeare, Richard Barnfield, and the Sixth Earl of Derby will likely appeal to all readers interested in Shakespeare's life and love poetry, both specialist scholars and non-specialist enthusiasts alike.

Published in 1594, under the title The Taming of a Shrew, this play has always been regarded as an earlier version by another dramatist, or as a corrupt memorial reconstruction of Shakespeare's The Taming of the Shrew. Yet the version accepted as Shakespeare's was not published until the First Folio of 1623.

Shakespeare's Sublime Pathos: Person, Audience, Language breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates experiences of sublime pathos, for which audiences have been prepared by the sublime ethos described in the companion volume, Shakespeare's Sublime Ethos. To do so, it examines Shakespeare's model of mutualistic character, in which "entangled" language brokers a psychic communion between fictive persons and real-life audiences and readers. In the process, Sublime Critical platitudes regarding Shakespeare's liberating ambiguity and invention of the human are challenged, while the sympathetic imagination is reinstated as the linchpin of the playwright's sublime effects. As the argument develops, the Shakespearean sublime emerges as an emotional state of vulnerable exhilaration leading to an ethically uplifting openness towards others and an epistemologically bracing awareness of human unknowability. Taken together, Shakespeare's Sublime Pathos and Shakespeare's Sublime Ethos show how Shakespearean drama integrates matter and spirit on hierarchical planes of cognition and argue that, ultimately, his is an immanent sublimity of the here-and-now enfolding a transcendence which may be imagined, simulated or evoked, but never achieved.

Shakespeare's famous tragedy unfurls in front of a dramatic manga setting, in which the fair city of Verona becomes a street in the highly fashionable Shibuya district of Tokyo. The swordfights become duals with katanas; the Capulets and the Montagues, opposing Yakuza families. Conflict explodes when Romeo - a bleached-blonde, well-dressed rock star - falls in love with Juliet, the pure and innocent Capulet daughter.

HarperCollins is proud to present its incredible range of best-loved, essential classics. 'The quality of mercy is not strain'd, It droppeth as the gentle rain from heaven' Bassiano, a noble Venetian, hopes to woo the beautiful heiress Portia. However, he requires financial assistance from his friend Antonio. Antonio agrees, but he, in turn, must borrow from the Jewish moneylender Shylock. As recourse for past ills, Shylock stipulates that the forfeit on the loan must be a pound of Antonio's flesh. In the most renowned onstage law scene of all time, Portia proves herself one of Shakespeare's most cunning heroines, disguising herself as a lawyer and vanquishing Shylock's claims; meanwhile, Shylock triumphs on a humanitarian level with his plea for tolerance: 'Hath not a Jew eyes?' Viewed paradoxically as anti-Semitic, while at the same time powerfully liberal for its time, The Merchant of Venice is at its core a bittersweet drama, exploring the noble themes of prejudice, justice and honour.