Hamlet's combination of violence and introspection is unusual among Shakespeare's tragedies. It is also full of curious riddles and fascinating paradoxes, making it one of his most widely discussed plays. Professor Hibbard's illuminating and original introduction explains the process by which variant texts were fused in the eighteenth century to create the most commonly used text of today. Drawing on both critical and theatrical history, he shows how this fusion makes Hamlet seem a much more 'problematic' play than it was when it originally appeared in the First Folio of 1623. The Oxford Shakespeare edition presents a radically new text, based on that First Folio, which printed Shakespeare's own revision of an earlier version. The result is a 'theatrical' and highly practical edition for students and actors alike. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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. 1903 edition. Excerpt: ...Though all things foul would wear the brows of grace, Yet grace must still look so. Macd. I have lost my hopes. Mal. Perchance even there where I did find my doubts. Why in that rawness left you wife and child,0 Those precious motives, those strong knots of love, Without leave-taking? I pray you, Let not my jealousies be your dishonours, But mine own safeties. You may be rightly just, 30 Whatever I shall think. Macd. Bleed, bleed, poor country: Great tyranny, lay thou thy basis sure, For goodness dare not check thee: wear thou thy wrongs; The title is affeer'd. Tare thee well, lord: I would not be the villain that thou think'st For the whole space that's in the tyrant's grasp And the rich East to boot. Mai. Be not offended: I speak not as in absolute fear of you. I think our country sinks beneath the yoke; It weeps, it bleeds, and each new day a gash Is added to her wounds: I think withal There would be hands uplifted in my right; And here from gracious England have I offer Of goodly thousands: but for all this, When I shall tread upon the tyrant's head, Or wear it on my sword, yet my poor country Shall have more vices than it had before, More suffer and more sundry ways than ever, By him that shall succeed. Macd. What should he be? Mal. It 0 is myself I mean: in whom I know All the particulars of vice so grafted That, when they shall be open'd, black Macbeth Will seem as pure as snow, and the poor state Esteem him as a lamb, being compared With my confineless harms. Macd. Not in the legions Of horrid hell can come a devil more damn'd In evils to top Macbeth. Mai. I grant him bloody, Luxurious, avaricious, false, deceitful, Sudden, malicious, smacking of every sin That has a name: but there's no bottom, none, 60 In my voluptuousness: your wives, ...

In Shakespeare's Language, Keith Johnson offers an overview of the rich and dynamic history of the reception and study of Shakespeare's language from his death right up to the present. Tracing a chronological history of Shakespeare's language, Keith Johnson also picks up on classic and contemporary themes, such as: lexical and digital studies original pronunciation rhetoric grammar. The historical approach provides a comprehensive overview, plotting the attitudes towards Shakespeare's language, as well as a history of its study. This approach reveals how different cultural and literary trends have moulded these attitudes and reflects changing linguistic climates; the book also includes a chapter that looks to the future. Shakespeare's Language is therefore not only an essential guide to the language of Shakespeare, but it offers crucial insights to broader approaches to language as a whole.

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. 1903 edition. Excerpt: ...Though all things foul would wear the brows of grace, Yet grace must still look so. Macd. I have lost my hopes. Mal. Perchance even there where I did find my doubts. Why in that rawness left you wife and child,0 Those precious motives, those strong knots of love, Without leave-taking? I pray you, Let not my jealousies be your dishonours, But mine own safeties. You may be rightly just, 30 Whatever I shall think. Macd. Bleed, bleed, poor country: Great tyranny, lay thou thy basis sure, For goodness dare not check thee: wear thou thy wrongs; The title is affeer'd. Tare thee well, lord: I would not be the villain that thou think'st For the whole space that's in the tyrant's grasp And the rich East to boot. Mai. Be not offended: I speak not as in absolute fear of you. I think our country sinks beneath the yoke; It weeps, it bleeds, and each new day a gash Is added to her wounds: I think withal There would be hands uplifted in my right; And here from gracious England have I offer Of goodly thousands: but for all this, When I shall tread upon the tyrant's head, Or wear it on my sword, yet my poor country Shall have more vices than it had before, More suffer and more sundry ways than ever, By him that shall succeed. Macd. What should he be? Mal. It 0 is myself I mean: in whom I know All the particulars of vice so grafted That, when they shall be open'd, black Macbeth Will seem as pure as snow, and the poor state Esteem him as a lamb, being compared With my confineless harms. Macd. Not in the legions Of horrid hell can come a devil more damn'd In evils to top Macbeth. Mai. I grant him bloody, Luxurious, avaricious, false, deceitful, Sudden, malicious, smacking of every sin That has a name: but there's no bottom, none, 60 In my voluptuousness: your wives, ...

In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels 'public' for the Globe and 'private' for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.

George Lyman Kittredge's insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume.

These new editions have specific emphasis on the performance histories of the plays (on stage and screen).

Features of each edition include:

- The original introduction to the Kittredge Edition

- Editor's Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play's performance history on stage and screen.

- Explanatory Notes. The explanatory notes either expand on Kittredge's superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare's sometimes demanding language.

- Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices.

- How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare's words allow the reader to envision the work "off the page."

- Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare's life. Some of the Chronologies include time chronologies within the plays.

- Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions' Introduction.

- Select Bibliography & Filmography

Each New Kittredge edition also includes screen grabs from major productions, for comparison and scene study.

Overturns orthodox thinking about morality in Shakespeare's plays by updating our understanding of the human mind This ground-breaking study fearlessly combines latest research in evolutionary psychology, historical scholarship and philosophy to answer a question that has eluded critics for centuries: what is Shakespeare's moral vision? At a political and cultural moment in which many of us are taking stock and looking for meaning, and in which moral outrage and polarisation seem endemic, this book radically reimagines how we might approach great works of literature to find some answers. Key Features Provocatively outlines how we might read literature for ethical content Brings latest research on morality from evolutionary psychology and sociology to bear on the study of Shakespeare's plays Comprehensive coverage of moral philosophy in Shakespeare's time and place, including the impact of the Renaissance, the Reformation and the rise of capitalism Plots 'Shakespeare's moral compass' on six foundations (Authority, Loyalty, Fairness, Sanctity, Care, Liberty) with a chapter on each

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Troilus and Cressida, a play that has long been considered difficult but is now popular both on the stage and in criticism, features an expanded and updated introduction and reading list. The first edition has been praised for its careful rethinking of the text, excellent annotation, lively attention to performance and extensive coverage of the play's major concerns. This updated edition retains these characteristics. In addition, Gretchen Minton and Anthony B. Dawson have provided a new account of the critical and theatrical treatment of Troilus and Cressida over the last fifteen years, showing how modern audiences have become attuned to the play's sardonic undercutting of both the medieval romance of the title characters and the Homeric tale of the Trojan War. Recent performance history is placed against a broader background of social change, including shifting attitudes towards war, political decision-making, gender politics, and fear of disease and contagion.

The second Oxford edition of Shakespeare's Complete Works reconsiders every detail of their text and presentation in the light of modern scholarship. The nature and authority of the early documents are re-examined, and the canon and chronological order of composition freshly established. Spelling and punctuation are modernized, and there is a brief introduction to each work, as well as an illuminating and informative General Introduction. Included here for the first time is the play The Reign of King Edward the Third as well as the full text of Sir Thomas More. This new edition also features an essay on Shakespeare's language by David Crystal, and a bibliography of foundational works.

Along with Hamlet, King Lear, and Macbeth, Othello is one of Shakespeare's four great tragedies. What distinguishes Othello is its bold treatment of racial and gender themes. It is also the only tragedy to feature a main character, Iago, who truly seems evil, betraying and deceiving those that trust him purely for spite and with no political goal. This edition, the first to give full attention to these themes, includes an extensive introduction stresses the public dimensions of the tragedy, paying particular attention to its treatment of color and social relations. Designed to meet the needs of theatre professionals, the edition includes an extensive performance history, while on-page commentary and notes explain language, word play, and staging. Collated and edited from all existing printings, this entirely new edition uses modern day spelling to make readings smoother. Appendices are included which explain the dating problems many have found in the play, describe the music that has traditionally accompanied it, and provide a full translation of the Italian novella from which the story derives. Like all editions of the Oxford Shakespeare in the Oxford World Classics series, Othello includes a full index to the introduction and commentary. It is illustrated with production photographs and related art, and features a durable sewn binding for lasting use. The Oxford Shakespeare offers authoritative texts from leading scholars in editions designed to interpret and

In this tragedy by William Shakespeare, the heroic Moor of Venice is driven to suspicion and finally murderous rage against his true love Desdemona by the cunning and hateful Iago.
This edition features an overview of Shakespeare's works by Sylvan Barnet, former Chairman of the English Department at Tufts University, as well as a comprehensive stage and screen history, dramatic criticism from the past and present, and sources from which Shakespeare derived this great work.

Wissen ist die wichtigste Ressource zur Gestaltung des 3. Jahrtausends. So klar der Anspruch, so haufig die Bestatigung, so schwer ist die Nutzung des wichtigsten "menschlichen Produktionsfaktors" im alltaglichen Geschaft. Schon bei dem Aufbau eines Managementsystems fur die scheinbar taglich wachsenden Informationsfluten sehen sich Organisationen und Systeme in allen gesellschaftlichen Bereichen uberfordert. Dieses Buch bietet Losungen fur den Umgang mit wertvoller Information und Wissen in Unternehmen. Die vorgestellte Konzeption eines integrierten Informations- und Wissensmanagementsystems ist das Ergebnis jahrelanger Erfahrungen in der betrieblichen Praxis sowie ihrer wissenschaftlichen Begleitung.

The two-part tale of King Henry IV, rewritten with new language for the twenty-first century. Shakespeare's two Henry IV plays follow the exploits of King Henry IV after usurping the crown from his cousin Richard II. Featuring some of Shakespeare's most recognizable characters such as Prince Hal and the roguish Sir John Falstaff, Henry IV, Part 1 delves into complicated questions of loyalty and kingship on and off the battlefield. Henry IV, Part 2 follows Prince Hal as he grapples with his eventual ascent to the throne and his increasingly strained relationship with Falstaff. As the king falls sick and Hal's ascent appears imminent, Hal's decisions hold significant implications for all those around him. Modernizing the language of the two plays, Yvette Nolan's translation carefully works at the seeds sown by Shakespeare-bringing to new life the characters and dramatic arcs of the original. These translations of Henry IV were written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print-a new First Folio for a new era.

Titus Andronicus is one of Shakespeare's earliest and bloodiest tragedies and was hugely successful in his lifetime. Subsequent generations have struggled with its bold confrontation of violence but in the 20th and 21st centuries the play has chimed with audiences again, perhaps because of its simultaneously shocking and playful approach to violent revenge and bodily mutilation. Jonathan Bate's original Arden edition was first published in 1995 and has had a significant influence on how the play has been performed and studied in the past 20 years. This revised edition includes a new 10,000 word introductory essay in which Bate reassess his views on the play's co-authorship with George Peele in the light of contemporary textual scholarship and updates his lively account of the play's performance history, on the international stage and screen. With detailed on-page commentary notes this will continue to be the edition of choice for students, scholars and theatre-makers.

Act I SCENE I. London. KING RICHARD II's palace. Enter KING RICHARD II, JOHN OF GAUNT, with other Nobles and Attendants KING RICHARD II Old John of Gaunt, time-honour'd Lancaster, Hast thou, according to thy oath and band, Brought hither Henry Hereford thy bold son, Here to make good the boisterous late appeal, Which then our leisure would not let us hear, Against the Duke of Norfolk, Thomas Mowbray? JOHN OF GAUNT I have, my liege. KING RICHARD II Tell me, moreover, hast thou sounded him, If he appeal the duke on ancient malice; Or worthily, as a good subject should, On some known ground of treachery in him? JOHN OF GAUNT As near as I could sift him on that argument, On some apparent danger seen in him Aim'd at your highness, no inveterate malice. ...]

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of King Henry V, Shakespeare's most celebrated war play, Andrew Gurr has added a new section to his introduction in which he considers recent criticism and important contemporary productions of the play. Concentrating in particular on 'secret' versus 'official' readings of the work, he analyses Shakespeare's double vision of Henry as both military hero and self-seeking individual, and shows how the patriotic declarations of the Chorus are contradicted by the play's dramatic action. Controversial sequences are placed in the context of Elizabethan thought while the exceptional variety of language and dialect in the text is also studied. An updated reading list completes the edition.

Sparkling with the witty dialogue between Beatrice and Benedicts, Much Ado About Nothing is one of Shakespeare's most enjoyable and theatrically successful comedies.
This edition offers a newly edited text and an exceptionally helpful and critically aware introduction. Paying particular attention to analysis of the play's minor characters, Sheldon P Zitner discusses Shakespeare's transformation of his source material. He rethinks the attitudes to gender relations that underlie the comedy and determine its view of marriage.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Allowing for the play's openness to reinterpretation by successive generations of readers and performers, Zitner provides a socially analytic stage history, advancing new views for the actor as much as for the critic.

Initially described as a comedy, Shakespeare's explorations of prejudice, duty and the nature of justice make The Merchant of Venice a far darker, more alluring play. Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is illustrated throughout by Sir John Gilbert, and includes an introduction by Ned Halley. The Merchant of Venice is most associated not with its titular hero, Antonio, but with the complex, unforgettable figure of the money-lender, Shylock. It is Shylock who finances Antonio's friend Bassanio in his pursuit of the beautiful Portia, and who demands a gruesome bond from the wealthy merchant.

George Lyman Kittredge's insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume.

These new editions have specific emphasis on the performance histories of the plays (on stage and screen).

Features of each edition include:

- The original introduction to the Kittredge Edition

- Editor's Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play's performance history on stage and screen.

- Explanatory Notes. The explanatory notes either expand on Kittredge's superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare's sometimes demanding language.

- Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices.

- How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare's words allow the reader to envision the work "off the page."

- Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare's life. Some of the Chronologies include time chronologies within the plays.

- Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions' Introduction.

- Select Bibliography & Filmography

Each New Kittredge edition also includes screen grabs from major productions, for comparison and scene study.

The greatest sonnets ever written, by the greatest poet and playwright in the English language--now in a handsome edition featuring exquisite color illustrations.

Early modern England was a nation alive with intense religious debate, with often violent results. Central to these debates were questions of prayer, questions powerful enough to splinter the English church and to fuel a ferocious civil war. This collection of thirteen newly commissioned essays traces the controversy and value given to the performance of prayer, through the body, the spoken word and written text, as well as its representation on stage. Through close readings of the works of Christopher Marlowe, William Shakespeare, John Donne, John Milton and Henry Vaughan amongst others, this book examines the performative aspects of prayer in a range of literary modes. This broad range of study is expanded further with chapters focussing on the private religious diaries of men and women throughout the seventeenth century, and the convergence of music and prayer in the work of William Byrd.