The entire play translated into plain English! "The course of true love never did run smooth;" With its mix of real people who stumble into a fairy kingdom (with it's own problems!) it's little wonder that this play is one of the best loved and most performed of all Shakespeare's masterpieces.

This book makes a significant contribution to recent scholarship on the ways in which women responded to the regulation of their behavior by focusing on representations of women speakers and their audiences in moments Smith identifies as "scenes of speech." This new approach, examining speech exchanges between a speaker and audience in which both anticipate, interact with, and respond to each other and each other's expectations, demonstrates that the prescriptive process involves a dynamic exchange in which each side plays a role in establishing and contesting the boundaries of acceptable speech for women. Drawing from a wide range of evidence, including pamphlets, diaries, illustrations, and plays, the book interprets the various and at times contradictory representations and reception of women's speech that circulated in early modern England. Speech scenes examined within include wives' speech to their husbands in private, private speech between women, public speech before death, and the speech of witches. Looking at scenes of women's speech from male and female authors, Smith argues that these early modern texts illustrate a means through which societal regulations were negotiated and modified. This book will appeal to those with an interest in early modern drama, including the playwrights Shakespeare, Cary, Webster, Fletcher, and Middleton, as well as readers of non-dramatic early modern literary texts. The volume is of particular use for scholars working in the areas of early modern literature and culture, women's history, gender studies, and performance studies.

This study considers the figure of the bastard in the context of analogies of the family and the state in early modern England. The trope of illegitimacy, more than being simply a narrative or character-driven issue, is a vital component in the evolving construction and representation of British national identity in prose and drama of the sixteenth and early seventeenth century. Through close reading of a range of plays and prose texts, the book offers readers new insight into the semiotics of bastardy and concepts of national identity in early modern England, and reflects on contemporary issues of citizenship and identity. The author examines play texts of the period including Bale's King Johan, Peele's The Troublesome Reign of John, and Shakespeare's King John, Richard II, and King Lear in the context of a selection of legal, religious, and polemical texts. In so doing, she illuminates the extent to which the figure of the bastard and, more generally the trope of illegitimacy, existed as a distinct discourse within the wider discursive framework of family and nation.

From Allie Esiri, editor of the bestselling A Poem for Every Day of the Year and A Poem for Every Night of the Year, comes this beautiful audio anthology of Shakespeare's works. William Shakespeare wrote at least 37 plays, 154 sonnets and a handful of longer poems and you can discover them all here. Each track of this unique collection contains an extract, which might be a famous poem, quote or scene, matched to the date, performed by leading actors such as Sir Simon Russell Beale, Helen McCrory, and Damian Lewis. Allie Esiri's introductions give her readers a new window into the work, time and life of the greatest writer in the English language. Shakespeare for Every Day of the Year is perfect for listening or sharing and brings you Shakespeare's best-known and best-loved classics alongside lesser known extracts read by a range of award-winning Shakespearean actors. Esiri's entertaining and insightful thoughts on each entry will fill your year with wonder, laughter, wisdom and wit. The complete cast of performers are: Sir Simon Russell Beale, Helen McCrory, Damian Lewis, Hattie Morahan, Pappa Essiedu, Jade Anouka, Ben Allen and Jot Davies.

Shakespeare everyone can understand--now in this new EXPANDED edition of ROMEO AND JULIET! 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.

In Shakespeare, Adaptation, Psychoanalysis, Matthew Biberman analyzes early adaptations of Shakespeare's plays in order to identify and illustrate how both social mores and basic human psychology have changed in Anglo-American culture. Biberman contests the received wisdom that Shakespeare's characters reflect essentially timeless truths about human nature. To the contrary, he points out that Shakespeare's characters sometimes act and think in ways that have become either stigmatized or simply outmoded. Through his study of the adaptations, Biberman pinpoints aspects of Shakespeare's thinking about behavior and psychology that no longer ring true because circumstances have changed so dramatically between his time and the time of the adaptation. He shows how the adaptors' changes reveal key differences between Shakespeare's culture and the culture that then supplanted it. These changes, once grasped, reveal retroactively some of the ways in which Shakespeare's characters do not act and think as we might expect them to act and think. Thus Biberman counters Harold Bloom's claim that Shakespeare fundamentally invents our sense of the human; rather, he argues, our sense of the human is equally bound up in the many ways that modern culture has come to resist or outright reject the behavior we see in Shakespeare's plays. Ultimately, our current sense of 'the human' is bound up not with the adoption of Shakespeare's psychology, perhaps, but its adaption-or, in psychoanalytic terms, its repression and replacement.

PHILO. Nay, but this dotage of our general's O'erflows the measure. Those his goodly eyes, That o'er the files and musters of the war Have glow'd like plated Mars, now bend, now turn, The office and devotion of their view Upon a tawny front. His captain's heart, Which in the scuffles of great fights hath burst The buckles on his breast, reneges all temper, And is become the bellows and the fan To cool a gipsy's lust.

Written by an international group of highly regarded scholars and rooted in the field of intermedial approaches to literary studies, this volume explores the complex aesthetic process of "picturing" in early modern English literature. The essays in this volume offer a comprehensive and varied picture of the relationship between visual and verbal in the early modern period, while also contributing to the understanding of the literary context in which Shakespeare wrote. Using different methodological approaches and taking into account a great variety of texts, including Elizabethan sonnet sequences, metaphysical poetry, famous as well as anonymous plays, and court masques, the book opens new perspectives on the literary modes of "picturing" and on the relationship between this creative act and the tense artistic, religious and political background of early modern Europe. The first section explores different modes of looking at works of art and their relation with technological innovations and religious controversies, while the chapters in the second part highlight the multifaceted connections between European visual arts and English literary production. The third section explores the functions performed by portraits on the page and the stage, delving into the complex question of the relationship between visual and verbal representation. Finally, the chapters in the fourth section re-appraise early modern reflections on the relationship between word and image and on their respective power in light of early-seventeenth-century visual culture, with particular reference to the masque genre.

Read Shakespeare's plays in all their brilliance--and understand what every word means! Don't be intimidated by Shakespeare! These popular guides make the Bard's plays accessible and enjoyable. Each No Fear guide contains: The complete text of the original play A line-by-line translation that puts the words into everyday language A complete list of characters, with descriptions Plenty of helpful commentary

Shakespeare's poetic-dramatic worlds are inescapably limited. There is always, in his poems and plays, a force (a contingent drive, a pre-textual undertow, a rational-critical momentum, an ironic stance, the deflections of error) coercing plot and meaning to their end. By examining the work of limits in the sonnets and in five of his plays, this book seeks not only to highlight the poet's steadfast commitment to critical rationality. It also aims to plead a case of hermeneutic continence. Present-day appraisals of Shakespeare's world-making and meaning-projecting potential are often overruled by a neo-romantic and phenomenological celebration of plenty. This pre-critical tendency unwittingly obtains epistemic legitimation from philosophical quarters inspired by Alain Badiou's derisive rejection of "the pathos of finitude". But finitude is much more than a modish, neo-existentialist, watchword. It is what is left of ontology when reason is done. And cool reason was already at work before Kant. In accounting for the way in which Shakespeare places limits to life (Romeo and Juliet), to experience (The Tempest), to love (the Sonnets), to time (Macbeth), to the world (Hamlet) and to knowledge (Othello), Limited Shakespeare: The Reason of Finitude aims to underscore the deeply mediated dimension of Shakespearean experience, always over-determined by the twin forces of contingency and textual determinism, and his meta-rational and virtually ironic taste for irrational, accidental, and error-driven limits (bonds, bounds, deaths).

Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character.

Tales from Shakespeare by Charles and Mary Lamb was written to be an 'introduction to the study of Shakespeare', but are much more entertaining than that. All of Shakespeare's best-loved plays, comic and tragic, are retold in a clear and robust style, and their literary quality has made them popular and sought-after ever since their first publication in 1807. This edition contains the delightful pen-and-ink drawings of Arthur Rackham.

No Fear Shakespeare gives you the complete text of "Much Ado About Nothing" on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains

• The complete text of the original play
• A line-by-line translation that puts Shakespeare into everyday language
• A complete list of characters with descriptions
• Plenty of helpful commentary

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.

Samurai warriors have reclaimed a future post-nuclear world of mutants in the original manga version of Shakespeare's tale of skulduggery. The series keeps true to Shakespeare's original text, but is specially abridged for use in the manga, which makes it ideal for students to use as a primer and a way of getting to grips with the themes in Shakespeare's plays. A fusion of classic Shakespeare with manga visuals, these are cutting-edge books that will intrigue and grip readers.

Demonstrating and defending a method of close reading and historical contextualisation of Shakespeare and his contemporaries, this collection of essays by Tom McAlindon combines a number of previously published pieces with original studies. The volume includes six interpretative studies, all but one of which involve challenges to radical readings of the plays involved, including Henry V, Coriolanus, The Tempest, and Doctor Faustus. The other three essays are critiques of the claims and methods of radical, postmodernist criticism (new historicism and cultural materialism especially); they illustrate the author's conviction that some leading scholars in the field of Renaissance literature and drama, who deserve credit for shifting attention to new areas of interest, must also be charged with responsibility for a marked decline in standards of analysis, interpretation, and argument. Likely to provoke considerable debate, this stimulating collection is an important contribution to Shakespeare studies.

A selection of Shakespeare's work focusing on the theme of love. From the passion of the sonnets, the poignant balcony scene in Romeo and Juliet to the bewitched love scene between Titania and Bottom in A Midsummer Night's Dream, this anthology cuts across age and class, taboo and prohibition.

This bibliography will give comprehensive coverage to published commentary in English on Shakespeare and the Classical Tradition during the period from 1961-1985. Doctoral dissertations will also be included. Each entry will provide a clear and detailed summary of an item's contents. For pomes and plays based directly on classical sources like Antony and Cleopatra and The Rape of Lucrece, virtually all significant scholarly work during the period covered will be annotated. For other works such as Hamlet, any scholarship that deals with classical connotations will be annotated. Any other bibliographies used in the compiling of this volume will be described with emphasis on their value to a student of Shakespeare and the Classics.

Desires of Credit in Early Modern Theory and Drama traces the near-simultaneous rise of economic theory, literary criticism, and public theater in London at the turn of the seventeenth century, and posits that connecting all three is a fascination with creating something out of nothing simply by acting as if it were there. Author Brian Sheerin contends that the motivating force behind both literary and economic inquiry at this time was the same basic quandary about the human imagination--specifically, how investments of belief can produce tangible consequences. Just as speculators were realizing the potency of collective imagination on economic circulation, readers and dramatists were becoming newly introspective about whether or not the 'lies' of literature could actually be morally 'profitable.' Could one actually benefit by taking certain fictions 'seriously'? Each of the five chapters examines a different dimension of this question by highlighting a particular dramatization of economic trust on the Renaissance stage, in plays by Marlowe, Shakespeare, Heywood, Dekker, and Jonson. The book fills a gap in current scholarship by keeping economic and dramatic interests rigorously grounded in early modern literary criticism, but also by emphasizing the productive nature of debt in a way that resonates with recent economic sociology.

What is the role of disgust or revulsion in early modern English literature? How did early modern English subjects experience revulsion and how did writers represent it in poetry, plays, and prose? What does it mean when literature instructs, delights, and disgusts? This collection of essays looks at the treatment of disgust in texts by Spenser, Shakespeare, Donne, Jonson, Herrick, and others to demonstrate how disgust, perhaps more than other affects, gives us a more complex understanding of early modern culture. Dealing with descriptions of coagulated eye drainage, stinky leeks, and blood-filled fleas, among other sensational things, the essays focus on three kinds of disgusting encounters: sexual, cultural, and textual. Early modern English writers used disgust to explore sexual mores, describe encounters with foreign cultures, and manipulate their readers' responses. The essays in this collection show how writers deployed disgust to draw, and sometimes to upset, the boundaries that had previously defined acceptable and unacceptable behaviors, people, and literatures. Together they present the compelling argument that a critical understanding of early modern cultural perspectives requires careful attention to disgust.

Two Gentlemen of Verona is commonly agreed to be Shakespeare's first comedy, and probably his first play. A comedy built around the confusions of doubling, cross - dressing and identity, it is also a play about the ideal of male friendship and what happens to those friendships when men fall in love. William Carroll's engaging Introduction focuses on the traditions and sources that stand behind the play and explores Shakespeare's unique and bold treatment of them. Special attention is given to the strong female figure of Julia and the controversial final scene.

Writers of the English Renaissance, like their European contemporaries, frequently reflect on the phenomenon of exile-an experience that forces the individual to establish a new personal identity in an alien environment. Although there has been much commentary on this phenomenon as represented in English Renaissance literature, there has been nothing written at length about its counterpart, namely, internal exile: marginalization, or estrangement, within the homeland. This volume considers internal exile as a simultaneously twofold experience. It studies estrangement from one's society and, correlatively, from one's normative sense of self. In doing so, it focuses initially on the sonnet sequences by Sidney, Spenser, and Shakespeare (which is to say, the problematics of romance); then it examines the verse satires of Donne, Hall, and Marston (likewise, the problematics of anti-romance). This book argues that the authors of these major texts create mythologies-via the myths of (and accumulated mythographies about) Cupid, satyrs, and Proteus-through which to reflect on the doubleness of exile within one's own community. These mythologies, at times accompanied by theologies, of alienation suggest that internal exile is a fluid and complex experience demanding multifarious reinterpretation of the incongruously expatriate self. The monograph thus establishes a new framework for understanding texts at once diverse yet central to the Elizabethan literary achievement.

1 Henry VI was the Rose's great draw in the Spring of 1592, and is a dramatic tale of the lives of soldiers, diplomats, kings, and insurrectionists; the fractious instability of the court and nobility of fifteenth-century England, and their squabbles with their French counterparts. Despite its debut performance in 1592, however, 1 Henry VI does not take a printed form until its appearance some thirty years later in the 1623 folio. There are many questions, therefore, surrounding exactly how many people wrote the play, when they did so, how it was performed, who played what part, and what was the nature of the manuscript behind the first performance. In his wide-ranging introduction, Michael Taylor offers answers to these questions, and discusses other key issues such as language, structure, performance history, and the role of women in the play.

Many scholars have been calling for a new edition of Sir John Harington's Epigrams. Gerard Kilroy, using the three manuscripts arranged and revised by the author, offers the first complete text in print of Harington's four hundred Epigrams, uncovers Harington's elaborate design of forty theological decades, and restores the emblems and political elegies that Harington uses to frame his complete collection and define its serious purpose.