A Theory of Injustice: Philosophical and Literary Perspectives insists upon a re-thinking of Western theories of Justice. For 2500 years, philosophers have subordinated the concept of injustice to the concept of justice, as if injustice were only a secondary, derivative notion. This book summons literary classics, notably Shakespeare, to argue that injustice, not justice, should be the focus of our attention. A long line of thinkers, from Plato and Aristotle through to Kant, Hegel, Marx and Rawls, have overlooked the central problems of injustice. The book identifies two elements - unity and measurement - that are constantly assumed to be essential to justice. It shows how, in landmark literary classics, it is precisely those two elements that end up generating injustice. Western justice theory, it is concluded, cannot advance until it takes a new approach to the concept and the realities of injustice.

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.

Renaissance ideas of honour had a profound influence on the English people who formed Shakespeare's audiences. In When Honour's at the Stake, first published in 1973, Norman Council describes the increasing importance of these ideas to the themes and structure of a number of Shakespeare's major plays. The validity of the most widely approved code of honour was being challenged on a variety of fronts, yet both personal standards of behaviour and public affairs were habitually understood in terms of honour. A series of tragedies are given their basic form by dramatizing the pernicious effects of man's disobedience to the various demands of honour; in Julius Caesar, Troilus and Cressida, Hamlet, Othello, and King Lear honour is among the principal motives of tragedy. In this way, the modern reader's comprehension of the plays can be greatly enhanced by reference to Elizabethan honour codes.

Shakespeare and Immigration critically examines the vital role of immigrants and aliens in Shakespeare's drama and culture. On the one hand, the essays in this collection interrogate how the massive influx of immigrants during the reign of Queen Elizabeth I influenced perceptions of English identity and gave rise to anxieties about homeland security in early modern England. On the other, they shed light on how our current concerns surrounding immigration shape our perception of the role of the alien in Shakespeare's work and expand the texts in new and relevant directions for a contemporary audience. The essays consider the immigrant experience; strangers and strangeness; values of hospitality in relationship to the foreigner; the idea of a host society; religious refuge and refugees; legal views of inclusion and exclusion; structures of xenophobia; and early modern homeland security. In doing so, this volume offers a variety of perspectives on the immigrant experience in Shakespearean drama and how the influential nature of the foreigner affects perceptions of community and identity; and, collection questions what is at stake in staging the anxieties and opportunities associated with foreigners. Ultimately, Shakespeare and Immigration offers the first sustained study of the significance of the immigrant and alien experience to our understanding of Shakespeare's work. By presenting a compilation of views that address Shakespeare's attention to the role of the foreigner, the volume constitutes a timely and relevant addition to studies of race, ethics, and identity in Shakespeare.

Farce

Characters: 3 male, 9 female

Interior Set

In an insane asylum we find a number of schoolteachers who have lost their mental balance trying to educate their pupils. The play starts hilariously when the ladies talk and act like their former charges. A love story is introduced with the visit of the niece of the superintendent and a young staff doctor, but each thinks the other is an inmate. This young girl thinks she would like to be a teacher, but after witnessing the antics of schoolteachers she decides to marry the doctor. We recommend it for churches, schools and parent teachers associations.

Described as one of Shakespeare's most intriguing plays, All's Well That Ends Well has only recently begun to receive the critical attention it deserves. Noted as a crucial point of development in Shakespeare's career, this collection of new essays reflects the growing interest in the play and presents a broad range of approaches to it, including historical, feminist, performative and psychoanalytical criticisms. In addition to fourteen essays written by leading scholars, the editor's introduction provides a substantial overview of the play's critical history, with a strong focus on performance analysis and the impact that this has had on its reception and reputation. Demonstrating a variety of approaches to the play and furthering recent debates, this book makes a valuable contribution to Shakespeare criticism.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This fascinating title, first published in 1922, presents a detailed overview of the life and works of Shakespeare. Alden first considers Shakespeare's Elizabethan context, alongside exploring the Classical and Italian foundations, political theories, concepts and theatrical trends that influenced his works. Next, a comprehensive biography provides insight into Shakespeare's probable education, relationships and contemporaries. The final sections are devoted to the genres into which Shakespeare's works have been categorised, with full analyses of and backgrounds to the poems, histories, comedies and tragedies. An important study, this title will be of particular value to students in need of a comprehensive overview of Shakespeare's life and works, as well as the more general inquisitive reader.

Region, Religion and English Renaissance Literature brings together leading scholars of early modern literature and culture to explicate the ways in which both regional and religious contexts inform the production, circulation and interpretation of Renaissance literary texts. Examining texts by a wide variety of early modern writers - including Edmund Spenser, Lodowick Lloyd, Richard Nugent, Thomas Middleton and John Webster, Richard Montagu, and John Milton - the contributors to this volume enhance our understanding of the complex cultural contexts of early modern Anglophone writing.

This volume offers the most comprehensive and critically up-to-date edition of Troilus and Cressida available today. Bevingtonas learned and engaging introduction discusses the ambivalent status and genre of the play, variously presented in its early printing as a comedy, a history and a tragedy. He examines and assimilates the wide variety of critical responses the play has elicited, and argues its importance in todayas culture as an experimental and open-ended work. He also, however, suggests that this experimentalism may have contributed to its lack of immediate stage success, and goes on to place the work in its late Elizabethan context of political instability and theatrical rivalry. A thorough performance history focuses chiefly on recent productions. The complex text situation is re-examined and the differing textual readings carefully explicated. 'Bevington's edition is so clearly the best now available that it will no doubt quickly become standard practice for all study of this remarkable play to begin with this remarkable edition.' Eric Rasmussen, University of Nevada at Reno, Shakespeare Survey

Referencing early modern English play texts alongside contemporary records, accounts and statutes, this study offers an overdue assessment of the relationship between the dramatic efforts of the universities and early modern male identity. Taking into account the near single-sex constitution of early modern universities, the book argues that performances of university plays, and student responses to them, were key ways of exploring and shaping early modern masculinity. Christopher Marlow shows how the plays dealt with their academic and social contexts, and analyses their responses to competing versions of masculinity. He also considers the implications of university authority and royal patronage for scholarly performances of masculinity; the effect of the literary traditions of classical friendship and platonic love on academic representations of male behaviour; and the relationship between university drama and masculine initiation rituals. Including discussion of the Parnassus trilogy, Club Law and works by Thomas Randolph, William Cartwright, John Milton and others, this study shines new light on long neglected aspects of the golden age of English drama.

In the first book-length study explicitly to connect the postcolonial trope of hybridity to Renaissance literature, Gary Schmidt examines how sixteenth- and seventeenth-century English authors, artists, explorers and statesmen exercised a concerted effort to frame questions of cultural and artistic heterogeneity. This book is unique in its exploration of how 'hybrid' literary genres emerge at particular historical moments as vehicles for negotiating other kinds of hybridity, including but not limited to cultural and political hybridity. In particular, Schmidt addresses three distinct manifestations of 'hybridity' in English literature and iconography during this period. The first category comprises literal hybrid creatures such as satyrs, centaurs, giants, and changelings; the second is cultural hybrids reflecting the mixed status of the nation; and the third is generic hybrids such as the Shakespearean 'problem play,' the volatile verse satires of Nashe, Hall and Marston, and the tragicomedies of Beaumont and Fletcher. In Renaissance Hybrids, Schmidt demonstrates 'postmodern' considerations not to be unique to our own critical milieu. Rather, they can fruitfully elucidate cultural and literary developments in the English Renaissance, forging a valuable link in the history of ideas and practices, and revealing a new dimension in the relation of early modern studies to the concerns of the present.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

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.

Reading God's will and a man's Last Will as ideas that reinforce one another, this study shows the relevance of England's early modern crisis, regarding faith in the will of God, to current debates by legal academics on the theory of property and its succession. The increasing power of the dead under law in the US, the UK, and beyond--a concern of recent volumes in law and social sciences--is here addressed through a distinctive approach based on law and humanities. Vividly treating literary and biblical battles of will, the book suggests approaches to legal constitution informed by these dramas and by English legal history. This study investigates correlations between the will of God in Judeo-Christian traditions and the Last Wills of humans, especially dominant males, in cultures where these traditions have developed. It is interdisciplinary, in the sense that it engages with the limits of several fields: it is informed by humanities critical theory, especially Benjaminian historical materialism and Lacanian psychoanalysis, but refrains from detailed theoretical considerations. Dramatic narratives from the Bible, Shakespeare, and Milton are read as suggesting real possibilities for alternative inheritance (i.e., constitutional) regimes. As Jenkins shows, these texts propose ways to alleviate violence, violence both personal and political, through attention to inheritance law.

Shakespeare's Henry VI plays have come fully into their own in the modern theatre. For this new edition of Henry VI, Part Two, Roger Warren draws on his experience of the play both in rehearsal and performance to focus its theatricality and contemporary relevance, as well as providing a detailed commentary and a fresh consideration of the relation between the two original texts.

Shakespeare and Lost Plays returns Shakespeare's dramatic work to its most immediate and (arguably) pivotal context; by situating it alongside the hundreds of plays known to Shakespeare's original audiences, but lost to us. David McInnis reassesses the value of lost plays in relation to both the companies that originally performed them, and to contemporary scholars of early modern drama. This innovative study revisits key moments in Shakespeare's career and the development of his company and, by prioritising the immense volume of information we now possess about lost plays, provides a richer, more accurate picture of dramatic activity than has hitherto been possible. By considering a variety of ways to grapple with the problem of lost, imperceptible, or ignored texts, this volume presents a methodology for working with lacunae in archival evidence and the distorting effect of Shakespeare-centric narratives, thus reinterpreting our perception of the field of early modern drama.

"The text of any Shakespeare play is a living negotiable entity: scholarship and theatre practice work together to keep the plays alive and vividly present." - Greg Doran, RSC Artistic Director Emeritus Developed in partnership with the Royal Shakespeare Company, this Complete Works of William Shakespeare combines exemplary textual scholarship with beautiful design. Curated by expert editors Sir Jonathan Bate and Professor Eric Rasmussen, the text in this collection is based on the iconic 1623 First Folio: the first and original Complete Works lovingly assembled by Shakespeare's fellow actors, and the version of Shakespeare's text preferred by many actors and directors today. This stunning revised edition goes further to present Shakespeare's plays as they were originally intended - as living theatre to be enjoyed and performed on stage. Along with new colour photographs from a vibrant range of RSC productions, a new Stage Notes feature documenting the staging choices in 100 RSC productions showcases the myriad ways in which Shakespeare's plays can be brought to life. Now featuring the entire range of Shakespeare's plays, poems and sonnets, this edition is expanded to include both The Passionate Pilgrim and A Lover's Complaint. Along with Bate's excellent general introduction and short essays, this collection includes a range of aids to the reader such as on-page notes explaining unfamiliar terms and key facts boxes providing plot summaries and additional helpful context. A Complete Works for the 21st century, this versatile and highly collectable edition will inspire students, theatre practitioners and lovers of Shakespeare everywhere.

Brings a fresh and contemporary approach to study of classic texts and plays so will appeal to students Easy to adapt to courses as looks at canonical plays which are frequently studied (Hamlet, Macbeth, Merchant of Venice) Written in a personal and accessible style so easy for readers of all levels to understand The author has a high media profile and is well-known and well-connected in the area, as well as being an award-winning academic

This book explores traditional approaches to the play, which includes an examination of the play in light of current history, in the context of Renaissance England, and in relation to Shakespeare's other Roman plays as well as structural examination of plot, language, character, and source material. Julius Caesar: Critical Essays also examines the current debates concerning the play in Marxist, psychoanalytic, deconstructive, queer, and gender contexts.

It's a fact - Pinocchio had a long life as well as a long nose before Walt Disney! Noted writer Leon Katz has taken the puppet and all the colourful characters out of the play box to write a brand new stage adaptation for children's theatre. Also included are costume sketches from the original production, stages cues, even a few stage tricks (just how do you get a wooden nose to grow on stage?), and stage directions.

In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music-heard, imagined, or remembered-to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical sound; the questionable status of audible, earthly music as an echo of celestial harmonies; and one writer's allusions to another. Minear argues that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics. Analyzing Milton's account of Shakespeare's 'warbled notes,' she demonstrates that he saw Shakespeare as a peculiarly musical poet, deeply and obscurely moving his audience with language that has ceased to mean, but nonetheless lingers hauntingly in the mind. Obsessed with the relationship between words and music for reasons of his own, including his father's profession as a composer, Milton would adopt, adapt, and finally reject Shakespeare's form of musical poetics in his own quest to 'join the angel choir.' Offering a new way of looking at the work of two major authors, this study engages and challenges scholars of Shakespeare, Milton, and early modern culture.

Edward III comes to life in a new version by playwright Octavio Solis. Written after England's victory over the Spanish Armada in 1588, Edward III follows the exploits of King Edward III and his son Edward, the Black Prince of Wales. England dominates on the battlefield as the play explores questions of kinghood and chivalry through the actions of King Edward and his son. Octavio Solis's translation of the play provides all of the complexity and richness of the original while renewing the allusions and metaphors lost through time. This translation of Edward III was 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.

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. Variously melancholy, lyrical, joyous and farcical, Twelfth Night has long been a popular comedy with Shakespearian audiences. The main plot revolves around mistaken identities and unrequited love. Both Olivia and Orsino are attracted to Viola, who is disguised as a young man; and Viola's brother, Sebastian, finds that he is loved not only by Antonio but also by Olivia. Meanwhile, in the comic sub-plot, Sir Toby Belch and his companions outwit the vain Malvolio, who is ludicrously humiliated. While offering broad comedy, Twelfth Night teasingly probes gender-roles and sexual ambiguities.