With its cross-dressed heroine, gender games and explorations of sexual ambivalence, its Forest of Arden and melancholy Jacques, As You Like it speaks directly to the twenty-first century. Juliet Dusinberre demonstrates that Rosalind's authority in the play grows from new ideas about women and reveals that Shakespeare's heroine reinvents herself for every age. But As You Like it is also deeply rooted in Elizabethan culture. Through the concealing medium of literary pastoral, Shakespeare addresses some of the hottest issues of his own time, including the fortunes of the Earl of Essex and the theatre's confrontation with Puritan disapproval; this new edition connects the play to the Elizabethan court and its dynamic queen and demonstrates that the play's vital roots in its own time give it new life in ours.

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.

SHALLOW. Sir Hugh, persuade me not; I will make a Star Chamber matter of it; if he were twenty Sir John Falstaffs, he shall not abuse Robert Shallow, esquire. SLENDER. In the county of Gloucester, Justice of Peace, and Coram. SHALLOW. Ay, cousin Slender, and Custalorum. SLENDER. Ay, and Ratolorum too; and a gentleman born, Master Parson, who writes himself 'Armigero' in any bill, warrant, quittance, or obligation-'Armigero.' SHALLOW. Ay, that I do; and have done any time these three hundred years.

- Topical subject: there is a lot of interest in Ameilia and women authors in the early modern period, and they are being included in more university courses and studied in more depth my researchers. Shakespeare's co-authorship is another hot topic area in Shakespeare research. - Interest in Shakespeare is global, so healthy sale potential within both English and non-English speaking markets. - Author has a solid reputation in Shakespeare authorship research community, and previous works have had a positive impact.

Shakespeare and Emotional Expression offers an exciting new way of considering emotional transactions in Shakespearean drama. The book is significant in its scope and originality as it uses the innovative medium of colour terms and references to interrogate the early modern emotional register. By examining contextual and cultural influences, this work explores the impact these influences have on the relationship between colour and emotion and argues for the importance of considering chromatic references as a means to uncover emotional significances. Using a broad range of documents, it offers a wider understanding of affective expression in the early modern period through a detailed examination of several dramatic works. Although colour meanings fluctuate, by paying particular attention to contextual clues and the historically specific cultural situations of Shakespeare's plays, this book uncovers emotional significances that are not always apparent to modern audiences and readers. Through its examination of the nexus between the history of emotions and the social and cultural uses of colour in early modern drama, Shakespeare and Emotional Expression adds to our understanding of the expressive and affective possibilities in Shakespearean drama.

ANTONIO. In sooth, I know not why I am so sad. It wearies me; you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn; And such a want-wit sadness makes of me That I have much ado to know myself. SALERIO. Your mind is tossing on the ocean; There where your argosies, with portly sail- Like signiors and rich burghers on the flood, Or as it were the pageants of the sea- Do overpeer the petty traffickers, That curtsy to them, do them reverence, As they fly by them with their woven wings.

This set provides a detailed and intimate account of the Elizabethan and Jacobean World picture. The volumes vividly convey life as it was in the days of Shakespeare; King James; the first voyage to the West Indies; the Great Plague of 1603; the Gunpowder Plot; the Civil War, and the first impact of Galileo's discoveries. In compiling these volumes, G.B. Harrison undertook a massive trawl of original sources of British social and political history of the period. Each journal contains a chronology of key events of the period, unfolding as they would for contemporaries. This rare panorama of one of England's most colourful periods in history provides an essential background for enlightened reading of Elizabethan and Jacobean literature, offering as it does, crucial insights into influences affecting the literature and attitudes of the time.

DUKE. Escalus! ESCALUS. My lord. DUKE. Of government the properties to unfold Would seem in me t' affect speech and discourse, Since I am put to know that your own science Exceeds, in that, the lists of all advice My strength can give you; then no more remains But that to your sufficiency- as your worth is able- And let them work. The nature of our people, Our city's institutions, and the terms For common justice, y'are as pregnant in As art and practice hath enriched any That we remember. There is our commission, From which we would not have you warp. Call hither, I say, bid come before us, Angelo.

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.

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.

First published in 1978. In this study, Shakespeare's own life story and the development of English theatrical history are placed in the wider context of Elizabethan and Jacobean times, but the works themselves are the final objective of this 'applied biography'. The main contention of the book is that Shakespeare's life was the lure of the stage itself which inspired him to transform what everyday life provided into the worlds of Hamlet, King Lear and Prospero.

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 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.

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.

FIRST WITCH. When shall we three meet again? In thunder, lightning, or in rain? SECOND WITCH. When the hurlyburly's done, When the battle's lost and won. THIRD WITCH. That will be ere the set of sun. FIRST WITCH. Where the place? SECOND WITCH. Upon the heath. THIRD WITCH. There to meet with Macbeth. FIRST WITCH. I come, Graymalkin.

As one of the most adventurous literary and cultural critics of his generation, Terence Hawkes' contributions to the study of Shakespeare and the development of literary and cultural theory have been immense. His work has been instrumental in effecting a radical shift in the study of Shakespeare and of literary studies. This collection of essays by some of his closest colleagues, friends, peers, and mentees begins with an introduction by John Drakakis, outlining the profound impact that Hawkes' work had on various areas of literary studies. It also includes a poem by Christopher Norris, who worked with Hawkes for many years at the University of Cardiff, as well as work on translation, social class, the historicist and presentist exploration of Shakespearean texts, and teaching Shakespeare in prisons. The volume features essays by former students who have gone on to establish reputations in areas beyond the study of literature, and who have contributed ground-breaking volumes to the pioneering New Accents series. It concludes with Malcolm Evans' innovative account of the migration of semiotics into the area of business. This book is a vibrant and informative read for anyone interested in Hawkes' unique blend of literary and cultural theory, criticism, Shakespeare studies, and presentism.

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.

HarperCollins is proud to present its incredible range of best-loved, essential classics. Bianca is beautiful and demure, with a plethora of wood-be suitors, but marriage is forbidden until her older sister Katherina finds a suitable match. The hitch? Fiery Katherina has sworn to deny the hand or demands of any would-be suitor. That is, until she meets her match in the wily Petrucio. As Katherina's own sharp tongue is met by Petrucio's feigned cruelty, the 'shrew' apparently capitulates. Or does she? This controversial comic tale, famously adapted into Cole Porter's Kiss Me Kate and 10 Things I Hate About You, has divided and amused audiences for over 400 years in an unforgettable battle of wits.

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.

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.

This volume explores Shakespeare's interest in pity, an emotion that serves as an important catalyst for action within the plays, even as it generates one of the audience's most common responses to tragic drama in the theater. For Shakespeare, the word "pity" contained a broader range of meaning than it does in modern English, and was often associated with ideas such as mercy, compassion, charity, pardon, and clemency. This cluster of ideas provides Shakespeare's characters with a rich range of possibilities for engaging some of humanity's deepest emotional commitments, in which pity can be seen as a powerful stimulus for fostering social harmony, love, and forgiveness. However, Shakespeare also dramatizes pity's potential for deception, when the appeal to pity is not genuine, and conceals contrary motives of vengeance and cruelty. As Shakespeare's works remain relevant for modern audiences and readers, so too does his dramatization of the powerful ways in which emotions such as pity remain essential to our understanding of our shared humanity and of our awareness of compassion's role in our own private and civic lives.