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Books > Language & Literature > Literature: texts > Drama texts, plays > 16th to 18th centuries
Read ROMEO AND JULIET in graphic-novel form--with NO FEAR! NOW IN COLOR! Based on the No Fear Shakespeare translations, this dynamic graphic novel--now with color added--is impossible to put down. The illustrations are distinctively offbeat, slightly funky, and appealing to teens. Includes: - An illustrated cast of characters - A helpful plot summary - Illustrations that show the reader exactly what's happening in each scene--making the plot and characters clear and easy to follow
WARWICK. I wonder how the King escap'd our hands. YORK. While we pursu'd the horsemen of the north, He slily stole away and left his men; Whereat the great Lord of Northumberland, Whose warlike ears could never brook retreat, Cheer'd up the drooping army, and himself, Lord Clifford, and Lord Stafford, all abreast, Charg'd our main battle's front, and, breaking in, Were by the swords of common soldiers slain.
What is it about Hamlet that has made it such a compelling and vital work? Murder Most Foul: Hamlet Through the Ages is an account of Shakespeare's great play from its sources in Scandinavian epic lore to the way it was performed and understood in his own day, and then how the play has fared down to the present: performances on stage, television, and in film, critical evaluations, publishing history, spinoffs, spoofs, musical adaptations, the play's growing reputation, its influence on writers and thinkers, and the ways in which it has shaped the very language we speak. The staging, criticism, and editing of Hamlet , David Bevington argues, go hand in hand over the centuries, to such a remarkable extent that the history of Hamlet can be seen as a kind of paradigm for the cultural history of the English-speaking world.
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.
This text focuses on preparing students for A-Level. It has notes, end-of-act activities, tips from an A-Level Chief Examiner and space for students' own annotations.
HarperCollins is proud to present its new range of best-loved, essential classics. 'All the world's a stage, And all the men and women merely players.' Featuring Rosalind, one of Shakespeare's most likeable and strong female protagonists, As You Like It is a comedic play centred around concealed identity, love, exile and artifice. Banished from the court by her uncle, Rosalind flees to the forest with her cousin Celia and her jester, joining her already exiled father, and disguising herself as a boy. In the guise of a young man, she instructs her would-be lover Orlando in the ways of love and in doing so allows Shakespeare to explore the dynamics of the city and the country as well as the sexual politics of the time.
HarperCollins is proud to present its new range of best-loved, essential classics. 'If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die.' A comedic romance of mistaken identity, Twelfth Night begins with a shipwreck, splitting up Viola and her twin brother, Sebastian. Alone in a strange land, Viola disguises herself as a male servant, Cesario, in order to work for the Duke Orsino. Orsino is in love with Lady Olivia, but it is Cesario that Olivia falls for. A farcical tale of misplaced love, confusion, gender-swapping and aspiration, Twelfth Night remains one of Shakespeare's best-loved and inventive comedies.
This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.
The most beautiful and famous quotations from Shakespeare in an exquisite gift book. The most beautiful and famous quotations from Shakespeare are gorgeously illustrated in this exquisite gift book. Unfolding to reveal evocative lines from plays such as Romeo and Juliet, A Midsummer Night's Dream, Hamlet,Twelfth Night and The Tempest, this charming collection celebrates the enduring appeal of the Bard and is the perfect gift for any book-lover.
Ties in with #metoo movement so has very broad potential appeal Blends contemporary examples with Shakespearean texts so will appeal to students Written in a very accessible style so appropriate for courses Focuses on three of Shakespeare's most commonly studied texts so will slot easily into courses
SUFFOLK. As by your high imperial Majesty I had in charge at my depart for France, As procurator to your Excellence, To marry Princess Margaret for your Grace; So, in the famous ancient city Tours, In presence of the Kings of France and Sicil, The Dukes of Orleans, Calaber, Bretagne, and Alencon, Seven earls, twelve barons, and twenty reverend bishops, I have perform'd my task, and was espous'd; And humbly now upon my bended knee, In sight of England and her lordly peers, Deliver up my title in the Queen To your most gracious hands, that are the substance Of that great shadow I did represent: The happiest gift that ever marquis gave, The fairest queen that ever king receiv'd.
BEDFORD. Hung be the heavens with black, yield day to night! Comets, importing change of times and states, Brandish your crystal tresses in the sky And with them scourge the bad revolting stars That have consented unto Henry's death! King Henry the Fifth, too famous to live long! England ne'er lost a king of so much worth. GLOUCESTER. England ne'er had a king until his time. Virtue he had, deserving to command; His brandish'd sword did blind men with his beams; His arms spread wider than a dragon's wings; His sparkling eyes, replete with wrathful fire, More dazzled and drove back his enemies Than mid-day sun fierce bent against their faces. What should I say? His deeds exceed all speech: He ne'er lift up his hand but conquered.
While many things about Shakespeare's life are unknown, certainly, like everyone else, he had a family. This book gathers into a single source as much information as possible concerning Shakespeare's immediate family, from his grandfathers on the maternal and paternal sides to his granddaughter, the last member of his direct family line. But readers may ask, to what extent did the relationships in the plays reflect the actual familial structures of Shakespeare's day? To what extent did Shakespeare experience personally the familial dynamics about which he wrote so eloquently? And to what extent were Shakespeare's own family experiences typical or atypical of other Elizabethan or Jacobean families? These questions can be addressed because more is known of Shakespeare's family than of the families of any of his fellow writers and actors. For several generations members of Shakespeare's family were important local figures in and around Stratford-upon-Avon, and, fortunately, from the Middle Ages until the present day, Stratford-upon-Avon has been one of the best-documented towns in England. While many things about Shakespeare's life are unknown, certainly, like everyone else, he had a family. This book gathers into a single source as much information as possible concerning Shakespeare's immediate family, from his grandfathers on the maternal and paternal sides to his granddaughter, the last member of his direct family line. But readers may ask, to what extent did the relationships in the plays reflect the actual familial structures of Shakespeare's day? To what extent did Shakespeare experience personally the familial dynamics about which he wrote so eloquently? And to what extent were Shakespeare's own family experiences typical or atypical of other Elizabethan or Jacobean families? These questions can be addressed because more is known of Shakespeare's family than of the families of any of his fellow writers and actors. For several generations, members of Shakespeare's family were important local figures in and around Stratford-upon-Avon, and, fortunately, from the Middle Ages until the present day Stratford-upon-Avon has been one of the best-documented towns in England. In vivid detail, Pogue provides an overview of the various members of Shakespeare's family and, where possible, draws conclusions concerning Shakespeare's relationships with his various family members. Further, the author notes to what extent Shakespeare's family experiences were typical or atypical of the time, and includes at the end of each chapter a discussion of scenes from Shakespeare's plays presenting the relevant familial relationship, juxtaposing the relational scenes he wrote with what we know of his own experience. Such a comparison impresses us once again not just with his skill at holding the mirror up to the nature of his time, but with the imaginative insight into humanity that lay at the heart of his dramatic genius.
CHORUS. O for a Muse of fire, that would ascend The brightest heaven of invention, A kingdom for a stage, princes to act, And monarchs to behold the swelling scene Then should the warlike Harry, like himself, Assume the port of Mars; and at his heels, Leash'd in like hounds, should famine, sword, and fire, Crouch for employment. But pardon, gentles all, The flat unraised spirits that hath dar'd On this unworthy scaffold to bring forth So great an object. Can this cockpit hold The vasty fields of France? Or may we cram Within this wooden O the very casques That did affright the air at Agincourt? O, pardon since a crooked figure may Attest in little place a million; And let us, ciphers to this great accompt,
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.
"Shakespeare, Spencer and the Matter of Britain" examines the work
of two of the most important English Renaissance authors in terms
of the cultural, social and political contexts of early modern
Britain. Andrew Hadfield demonstrates that the poetry of Edmund
Spenser and the plays of William Shakespeare demand to be read in
terms of an expanding Elizabethan and Jacobean culture in which a
dominant English identity had to come to terms with the Irish,
Scots and Welsh who were now also subjects of the crown.
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.
The authoritative edition of Henry IV, Part 2 from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers. Henry IV, Part 2 is the only Shakespeare play that is a "sequel," in the modern sense, to an earlier play of his. Like most sequels, it repeats many elements from the previous work, Henry IV, Part 1. This play again puts on stage Henry IV's son, Prince Hal, who continues to conceal his potential greatness by consorting with tavern dwellers, including the witty Sir John Falstaff. As in Part 1, Prince Hal and Falstaff seek to best each other in conversation, while Falstaff tries to ingratiate himself with Hal and Hal disdains him. Part 2 adds some fresh characters, the rural justices Shallow and Silence and Shallow's household. Political rebellion, while important to the plot, does not loom as large as in Part 1. There are no glorious champions; combat is replaced by deception, cunning, and treachery. This edition includes: -Freshly edited text based on the best early printed version of the play -Full explanatory notes conveniently placed on pages facing the text of the play -Scene-by-scene plot summaries -A key to the play's famous lines and phrases -An introduction to reading Shakespeare's language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library's vast holdings of rare books -An annotated guide to further reading Essay by A. R. Braunmuller The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
Pivotal Lines in Shakespeare and Others defines a pivotal line as "a moment in the script that serves as a pathway into the larger play ... a magnet to which the rest of the play, scenes before and after, adheres." Homan offers his personal choices of such lines in five plays by Shakespeare and works by Beckett, Brecht, Pinter, Shepard, and Stoppard. Drawing on his own experience in the theatre as actor and director and on campus as a teacher and scholar, he pairs a Shakespearean play with one by a modern playwright as mirrors for each other. One reviewer calls his approach "ground-breaking." Another observes that his "experience with the particular plays he has chosen is invaluable" since it allows us to find "a wedge into such ironic texts." Academics and students alike will find this volume particularly useful in aiding their own discovery of a pivotal line or moment in the experience of reading about, watching, or performing in a play.
Building Embodiment: Integrating Acting, Voice, and Movement to Illuminate Poetic Text offers a collection of strategic and practical approaches to understanding, analyzing, and embodying a range of heightened text styles, including Greek Tragedy, Shakespeare, and Restoration/Comedy of Manners. These essays offer insights from celebrated teachers across the disciplines of acting, voice, and movement, and are designed to help actors find deeper vocal and physical connections to poetic text. Although each dramatic genre offers a unique set of challenges, Building Embodiment highlights instances where techniques can integrate and overlap, and illustrates how the synthesis of body, brain, and word results in a fuller sense of character experiencing for both the actor and the audience. This book bridges the gap between academic and professional application, and invites the student and professional actor into a deeper experience of character and story.
Building Embodiment: Integrating Acting, Voice, and Movement to Illuminate Poetic Text offers a collection of strategic and practical approaches to understanding, analyzing, and embodying a range of heightened text styles, including Greek Tragedy, Shakespeare, and Restoration/Comedy of Manners. These essays offer insights from celebrated teachers across the disciplines of acting, voice, and movement, and are designed to help actors find deeper vocal and physical connections to poetic text. Although each dramatic genre offers a unique set of challenges, Building Embodiment highlights instances where techniques can integrate and overlap, and illustrates how the synthesis of body, brain, and word results in a fuller sense of character experiencing for both the actor and the audience. This book bridges the gap between academic and professional application, and invites the student and professional actor into a deeper experience of character and story.
Edited, introduced and annotated by Cedric Watts, M.A., Ph.D., Emeritus Professor of English, University of Sussex. The Wordsworth Classics' Shakespeare's 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. The Taming of the Shrew is one of the most famous and controversial of Shakespeare's comedies. The central relationship, in which Petruchio boisterously 'tames' a rebellious Kate, has often appeared problematic. In the theatre, it has been treated in a diversity of ways, so that Kate's apparent capitulation varies between the ironic and the sincere. Feminists have been divided in their responses. The provocative vitality of this comedy has been transmitted by numerous adaptations for stage and screen, notably the film directed by Franco Zeffirelli and the Cole Porter musical, Kiss Me, Kate.
This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide. |
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