This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1886 Excerpt: ...in AB and Col.--47. Col. ends the line at liege.--48. Stage-dir. added by Del. And so reduce him from a scoulding drum To be the herald and deare counsaile-bearer Betwixt a goddesse and a mighty king. Go, bid the drummer learne to touch the Lute, 60 Or hang him in the braces of his drum; For now we thinke it an vnciuill thing, To trouble heauen with such harsh resounds: Away The quarrell that I haue requires no armes 65 But these of myne: and these shall meete my foe In a deepe march of penytrable grones; My eyes shall be my arrowes, and my sighes Shall serue me as the vantage of the winde, To wherle away my sweetest artyllerie. 70-Ah but, alas, she winnes the sunne of me, For that is she her selfe; and thence it comes That Poets tearme the wanton warriour blinde; But loue hath eyes as iudgement to his steps, Till too much loued glory dazles them.--Enter Lodwike. 75 How now? Lod. My liege, the drum that stroke the lusty march, Stands with Prince Edward, your thrice valiant sonne. Enter Prince Edward. King. I see the boy, oh, how his mothers face, Modeld in his, corrects my straid desire, 80 And rates my heart, and chides my theeuish eie, Who, being rich ennough in seeing her, Yet seekes elsewhere: and basest theft is that Which cannot cloke it selffe on pouertie.--'Now, boy, what newes? 62, 63. One line in AB; div. by Cap.--63. (Stage-dir.) Exit Lod. B.--68. ventage Del.--74. two much A.--Stage-dir. after l. 75 in AB; set aright by Del. (Re-enter LouowiCK).--77. Enter PxinCK. LouowiCJf retires to the door. Del.--79. Molded B and Edd.--83. cloke check Cap. and Edd., except Del. Pr. Edw. I haue assembled, my deare Lord and father, 85 The choysest buds of all our English blood For our affaires in Fraunce; and heere we come To take direction from your maiestie...

Should we assume that people who lived some time ago were quite similar to us or should we assume that they need to be thought of as alien beings with whom we have little in common? This specially commissioned collection explores this important issue through an analysis of the lives and work of a number of significant early modern writers. Shakespeare is analysed in a number of essays as authors ask whether we can learn anything about his life from reading the Sonnets and Hamlet. Other essays explore the first substantial autobiography in English, that of the musician and poet, Thomas Wythorne (1528-96); the representation of the self in Holbein's great painting, The Ambassadors; whether we have a window into men's and women's souls when we read their intimate personal correspondence; and whether modern studies that wish to recapture the intentions and inner thoughts of early modern people who left writings behind are valuable aids to interpreting the past. This book was originally published as a special issue of Textual Practice.

Powerful tragedy of an aging king, betrayed by his daughters, robbed of his kingdom, descending into madness. Perhaps the bleakest of Shakespeare's tragic dramas, it explores themes of filial ingratitude, injustice, wretchedness and the meaninglessness of life with unsurpassed power and depth. Reprinted here from an authoritative British edition, complete with explanatory footnotes.

The guild buildings of Shakespeare's Stratford represent a rare instance of a largely unchanged set of buildings which draw together the threads of the town's civic life. With its multi-disciplinary perspectives on this remarkable group of buildings, this volume provides a comprehensive account of the religious, educational, legal, social and theatrical history of Stratford, focusing on the sixteenth century and Tudor Reformation. The essays interweave with one another to provide a map of the complex relationships between the buildings and their history. Opening with an investigation of the Guildhall, which served as the headquarters of the Guild of the Holy Cross until the Tudor Reformation, the book explores the building's function as a centre of local government and community law and as a place of entertainment and education. It is beyond serious doubt that Shakespeare was a school boy here, and the many visits to the Guildhall by professional touring players during the latter half of the sixteenth-century may have prompted his acting and playwriting career. The Guildhall continues to this day to house a school for the education of secondary-level boys. The book considers educational provision during the mid sixteenth century as well as examining the interaction between touring players and the everyday politics and social life of Stratford. At the heart of the volume is archaeological and documentary research which uses up-to-date analysis and new dendrochronological investigations to interpret the buildings and their medieval wall paintings as well as proposing a possible location of the school before it transferred to the Guildhall. Together with extensive archival research into the town's Court of Record which throws light on the commercial and social activities of the period, this rich body of research brings us closer to life as it was lived in Shakespeare's Stratford.

Set in a city torn apart by feuds and gang warfare, Romeo and Juliet is a dazzling combination of passion and hatred, bawdy comedy and high tragedy. Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful hardbacks make perfect gifts for book lovers, or wonderful additions to your own collection. This edition features the classic illustrations by Sir John Gilbert, and includes an introduction by Ned Halley. A young man and woman meet by chance and fall instantly in love. But their families are bitter enemies and, in order to be together, the two lovers must be prepared to risk everything. Undoubtedly the greatest love story ever written, Shakespeare's Romeo and Juliet has spawned a host of imitators on stage and screen and been adapted countless times.

Professor Mahood's book has established itself as a classic in the field, not so much because of the ingenuity with which she reads Shakespeare's quibbles, but because her elucidation of pun and wordplay is intelligently related both to textual readings and dramatic significance.' - Revue des Langues Vivantes

Read MACBETH 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

First Published in 1999. This is Volume II of a collection of Elizabethan and Jacobean Journals from 1595 to 1598 and records 'those things most talked about during those years'.

This book explores the life experiences of children who are born with a variety of medical or physical disorders. It provides an integration of scientific and personal perspectives on such conditions. In accounting for both outcomes, it suggests how the social responses of others (family, friends, and professionals) may foster resilience as well as risk. It also describes the results of an intervention that facilitates the more positive experiences of such children early in life.

While Robert Greene was the most prolific and perhaps the most notorious professional writer in Elizabethan England, he continues to be best known for his 1592 quip comparing Shakespeare to "an upstart crow." In his short twelve-year career, Greene wrote dozens of popular pamphlets in a variety of genres and numerous professional plays. At his premature death in 1592, he was a bonafide London celebrity, simultaneously maligned as Grub-Street profligate and celebrated as literary prodigy. The present volume constitutes the first collection of Greene's reception both in the early modern period and in our present era, offering in its poems, prose passages, essays, and chapters that which is most singular among what has been written about Greene and his work. It also includes a complete list of Greene's contemporary reception until 1640. Kirk Melnikoff's wide-ranging and revisionist introduction organizes this reception generically while at the same time situating it in the context of recent critical methodologies.

First published in 1951. The edition reprints the second, updated, edition, of 1977. When first published this book quickly established itself as the standard survey of Shakespeare's imagery considered as an integral part of the development of Shakespeare's dramatic art. By illustrating, through the use of examples the progressive stages of Shakespeare's use of imagery, and in relating it to the structure, style and subject matter of the plays, the book throws new light on the dramatist's creative genius. The second edition includes a new preface and an up-to-date bibliography.

First published in 1961. This study analyses Shakespeare's treatment of the universal themes of Beauty, Love and Time. He compares Shakespeare with other great poets and sonnet writers - Pindar, Horace and Ovid, with Petrarch, Tasso and Ronsart, with Shakespeare's own English predecessors and contemporaries, notably Spenser, Daniel and Drayton and with John Donne. By discussing their resemblances and differences, a not altogether orthodox picture of Shakespeare's attitude to life is presented, which suggests that he was not as phlegmatic and equable a person as critics have often supposed.

The current surge of interest in the Elizabethan poet, dramatist, prose-writer and critic, Thomas Nashe, follows years of neglect or undisguised hostility. Yet, as early allusions testify, Nashe was a name which imposed itself on contemporary culture. Nashe annoyed and even disturbed his contemporaries, but they certainly paid attention to him because he pioneered new approaches to writing, and indeed to living, and because he was an astute critic. The essays in this volume have been chosen for the skill with which they present diverse approaches to key issues in Nashe. All Nashe's texts are covered, as are his relationships with contemporaries, like Shakespeare. The introduction analyses different approaches, locating them in the history of Nashe criticism, and suggests areas for future research. It argues that Nashe's importance to Renaissance studies lies in his anomalousness, as he forces us to rethink the Renaissance. He makes the Renaissance unfamiliar again, and pushes criticism out of its comfort zone.

First published in 1987. Often the best known and most memorable passages in Shakespeare's plays, the soliloquies, also tend to be the focal points in the drama. Twenty-seven soliloquies are examined in this work, illustrating how the spectator or reader is led to the soliloquy and how the drama is continued afterwards. The detailed structure of each soliloquy is discussed, as well as examining them within the structure of the entire play - thereby extending the interpretation of the work as a whole.

First published in 1986. 'Impressively open to the complexity of cultural discourses, to the ways in which one discursive form may function as a screen for another above all to the political entailment of genre.'Stephen Greenblatt. What is the relation between literary and political power? How do the symbolic dimensions of social practice and the social dimensions of artistic practice relate to one another? Power on Display considers Shakespeare's progression from romantic comedies and history plays to tragedy and romance in the light of the general process of cultural change in the period.

More troubled and troubling than King Henry IV Part 1, the play continues the story of King Henry's decline and Hal's reform. Though Part 2 echoes the structure of the earlier play, it is a darker and more unsettling world, in which even Falstaff's revelry is more tired and cynical, and the once-merry Hal sloughs off his tavern companions to become King Henry V. James C. Bulman's authoritative edition provides a wealth of incisive commentary on this complex history play.

A Midsummer Night's Dream is perhaps the best-loved of Shakespeare's plays, and certainly the one that children are likely to encounter first; its mixture of aristocrats, workers, and fairies meeting in a wood outside Athens has a magic of its own. Simple and engaging on the surface, it is nonetheless a highly original and sophisticated work, remarkable for both its literary and its theatrical mastery. The fact that it is one of the very few of Shakespeare's plays not to draw on a narrative source suggests the degree to which it reflects his deepest imaginative concerns. In his Introduction, defining the play in both the literary and theatrical traditions to which it belongs, Peter Holland pays particular attention to dreams and dreamers, tracing the materials out of which Shakespeare constructs his world of night and shadows in the strange but enchanting amalgam he makes of them. Both here and in the detailed commentary he draws freely upon the play's extensive performance history to illustrate the wide range of interpretations of which it is capable. ;This book is intended for students and scholars of Shakespeare from A-level upwards; Shakespeare enthusiasts, actors, and theatrego

'By far the best edition of King Lear - in respect of both textual and other matters - that we now have.' John Lyon, English Language Notes 'This volume is a treasure-trove of precise information and stimulating comments on practically every aspect of the Lear-universe. I know of no other edition which I would recommend with such confidence: to students, professional colleagues and also the 'educated public'.' Dieter Mehl, Shakespeare Jahrbuch, vol 134

Likely the last play written entirely by Shakespeare, The Tempest brings together various themes the bard explored in his prior plays, including magic, revenge and forgiveness, order and society, and nature versus art. The shipwreck and remote island, the spirits, and the dukes and their children, offer rich material for Wylie's works on paper and canvas. As the third title in David Zwirner Books's Seeing Shakespeare series, this book pairs a complex narrative with equally layered works by a contemporary artist who approaches the play and art-making from a unique perspective.

King Henry VIII has one of the fullest theatrical histories of any play in the Shakespeare canon, yet has been consistently misrepresented, both in performance and in criticism. This edition offers a new perspective on this ironic, multi-layered, collaborative play, revealing it as a complex meditation on the progress of Reformation which sees English life since Henry VIII's day as a series of bewildering changes in national and personal allegiance and represents 'history' as the product of varied and contradictory testimony. McMullan makes a powerful claim for the rehabilitation of Henry VIII, providing the fullest performance history of any edition to date and reading the work not as a marginal 'late' Shakespeare play but as a play which is paradigmatic of the achievement of Renaissance drama as a whole.

The Merry Wives of Windsor was almost certainly required at short notice for a court occasion in 1597: Shakespeare threw into it all the creative energy that went into his Henry IV plays. Falstaff is here, with Pistol, Mistress Quickly, and Justice Shallow, in a spirited and warm-hearted `citizen comedy'. Boisterous action is combined with situational irony and rich characterization.

In his introduction T. W. Craik discusses the play's probable occasion (the Garter Feast of 1597 at court), its relationship to Shakespeare's English history plays and to other sources, its textual history (with particular reference to the widely diverging 1623 Folio and 1602 Quarto), and its original quality as drama. He assesses various interpretations of the play, topical, critical, and theatrical. In the commentary he pays particular attention to expounding the literal sense (he proposes some new readings) and evoking the stage business.

In their lively and engaging edition of this sometimes neglected early play, Cox and Rasmussen make a strong claim for it as a remarkable work, revealing a confidence and sureness that very few earlier plays can rival. They show how the young Shakespeare, working closely from his chronicle sources, nevertheless freely shaped his complex material to make it both theatrically effective and poetically innovative. The resulting work creates, in Queen Margaret, one of ShakespeareAEs strongest female roles and is the source of the popular view of Richard Neville, Earl of Warwick as aekingmakerAE. Focusing on the history of the play both in terms of both performance and criticism, the editors open it to a wide and challenging variety of interpretative and editorial paradigms."

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.

Moving beyond traditional studies of sources and influence, Shakespeare's Marlowe analyzes the uncommonly powerful aesthetic bond between Christopher Marlowe and William Shakespeare. Not only does this study take into account recent ideas about intertextuality, but it also shows how the process of tracking Marlowe's influence itself prompts questions and reflections that illuminate the dramatists' connections. Further, after questioning the commonly held view of Marlowe and Shakespeare as rivals, the individual chapters suggest new possible interrelationships in the formation of Shakespeare's works. Such examination of Shakespeare's Marlovian inheritance enhances our understanding of the dramaturgical strategies of each writer and illuminates the importance of such strategies as shaping forces on their works. Robert Logan here makes plain how Shakespeare incorporated into his own work the dramaturgical and literary devices that resulted in Marlowe's artistic and commercial success. Logan shows how Shakespeare's examination of the mechanics of his fellow dramatist's artistry led him to absorb and develop three especially powerful influences: Marlowe's remarkable verbal dexterity, his imaginative flexibility in reconfiguring standard notions of dramatic genres, and his astute use of ambivalence and ambiguity. This study therefore argues that Marlowe and Shakespeare regarded one another not chiefly as writers with great themes, but as practicing dramatists and poets-which is where, Logan contends, the influence begins and ends.