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First published in 1971.
The only substantial text of a series of lectures on Shakespeare
by S T Coleridge is that provided by J P Collier's Seven Lectures
on Shakespeare and Milton
(1856). His text of these important lectures given by Coleridge in
1811-12 has been the basis of all modern editions. This edition is
based on hitherto unpublished transcripts of the lectures made by
Collier when, as a young man, he attended Coleridge's lectures. R A
Foakes' introduction and appendices demonstrate the extent to which
Collier revised and altered Coleridge's words for the edition he
published forty-five years later. This volume therefore provides a
much more authoritative text of Coleridge's most important
Shakespeare lectures.
First published in 1971. The only substantial text of a series of
lectures on Shakespeare by S T Coleridge is that provided by J P
Collier's Seven Lectures on Shakespeare and Milton (1856). His text
of these important lectures given by Coleridge in 1811-12 has been
the basis of all modern editions. This edition is based on hitherto
unpublished transcripts of the lectures made by Collier when, as a
young man, he attended Coleridge's lectures. R A Foakes'
introduction and appendices demonstrate the extent to which Collier
revised and altered Coleridge's words for the edition he published
forty-five years later. This volume therefore provides a much more
authoritative text of Coleridge's most important Shakespeare
lectures.
First published in 1971. This volume explains and analyses the last
plays of Shakespeare as dramatic structures. Beginning from the
dark comedies, the author describes the ways in which Shakespeare
was affected by the new techniques and possibilities for drama
opened up by the innovations of the years after 1600, notably by
the rise in children's companies. The main line of development of
Shakespeare's dramatic skills is shown as leading from the dark
comedies, through the late tragedies, to the last plays. A major
part of the book is devoted to analyses of Cymbeline, The Winter's
Tale, The Tempest and King Henry VIII.
This play depicts a morally corrupt world where the desire for
justice is contaminated by the obsession for revenge. The
characters take pleasure in watching adultery, incest and murder.
The play's chief moral spokesman, Vindice, is at the same time
enamoured of and disgusted by, the luxury of the court. Locating
the play in relation to the best recent criticism, and exploring
its complexities with a contemporary eye, furthers the reputation
of these comprehensive student editions. -- .
This book focuses on the two plays of Shakespeare that have
generally contended for the title of 'greatest' among his works.
Hamlet remained a focal point of reference until about 1960, when
it was displaced by King Lear, a play which at the same time ceased
to be perceived as a play of redemption and became a play of
despair. Foakes attempts to explain these shifts by analysing the
reception of the plays since about 1800, an analysis which
necessarily engages with the politics of the plays and the politics
of criticism. Recent critical theorising has destabilised the texts
and undermined the notion of 'greatness' or any consideration of
the plays as works of art. Foakes takes issue with such theories
and reconsiders textual revisions, in order to argue for the
integrity of the plays as reading texts, and to recover a flexible
sense of their artistry in relation to meaning. The book will be of
interest to scholars and students of Shakespeare and to
theatre-goers.
'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
A new section of the Introduction to this updated edition considers important professional theater productions and the large output of scholarly criticism on the play which have appeared in recent years. The Reading List has been revised and augmented to reflect the scope of the revised edition. First Edition Hb (1985): 0-521-22194-3 First Edition Pb (1985): 0-521-29389-8
'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
A new section of the Introduction to this updated edition considers important professional theater productions and the large output of scholarly criticism on the play which have appeared in recent years. The Reading List has been revised and augmented to reflect the scope of the revised edition. First Edition Hb (1985): 0-521-22194-3 First Edition Pb (1985): 0-521-29389-8
This book focuses on the two plays of Shakespeare that have
generally contended for the title of 'greatest' among his works.
Hamlet remained a focal point of reference until about 1960, when
it was displaced by King Lear, a play which at the same time ceased
to be perceived as a play of redemption and became a play of
despair. Foakes attempts to explain these shifts by analysing the
reception of the plays since about 1800, an analysis which
necessarily engages with the politics of the plays and the politics
of criticism. Recent critical theorising has destabilised the texts
and undermined the notion of 'greatness' or any consideration of
the plays as works of art. Foakes takes issue with such theories
and reconsiders textual revisions, in order to argue for the
integrity of the plays as reading texts, and to recover a flexible
sense of their artistry in relation to meaning. The book will be of
interest to scholars and students of Shakespeare and to
theatre-goers.
Relating this study to current anxieties about the problem of violence, R.A. Foakes reveals how similar concerns are central in Shakespeare's plays. At first Shakespeare exploited spectacular violence for its entertainment value, but in later plays he explored a range of issues relating to war, heroism, manliness, and violence in nature as well as in human beings. This book examines the development of Shakespeare's representations of violence and explains their importance in shaping his career as a dramatist.
The Diary of Philip Henslowe (1961), owner of the Rose Theatre in London, remains the most valuable source of information about the workings of the Elizabethan public theaters. The Diary deals with the daily activities of the companies of players who performed at the Rose. This second edition has added a new preface and bibliography; a new introduction; several indexes and photographs.
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