* concise introductions to the plays and other works
* images of how the plays first appeared in print, giving your eReader a taste of the Elizabethan texts
* ALL 38 plays and each with their own contents table – navigate easily between acts and scenes – find that special quotation quickly!
* even includes 17 apocryphal plays available nowhere else
* contains a special LOST PLAYS section, with concise information on Shakespeare’s lost works
* includes the special bonus play of DOUBLE FALSEHOOD
* ALL the sonnets and other poetry, with excellent formatting, in their own special contents table – find that special sonnet quickly and easily!
* packed full of hundreds of beautiful images relating to Shakespeare’s life, locations and works
* EVEN includes a special SOURCES section – spend hours discovering rare medieval texts that shaped Shakespeare’s greatest works.
* INCLUDES no less than 5 biographies – explore the bard’s mysterious life from multiple sources across history
* the SPECIAL literary criticism section boasts 11 works by writers as varied as Samuel Johnson, Coleridge, Pope, Bernard Shaw and Tolstoy
* scholarly ordering of texts into chronological order and literary genres
* includes a special ‘Glossary of Elizabethan Language’, which will aid your comprehension of difficult words and phrases
* UPDATED with line numbers to all 38 plays, in response to customers’ requests
* UPDATED with a special Quotations section, with hundreds of famous quotations from the plays and poetry
This eBook is quite simply stunning and deserves a place in the digital library of all lovers of literature.
ALL 38 PLAYS
The Lost Plays
LOVE’S LABOUR’S WON
LIST OF THE PLAYS’ SOURCES
The Apocryphal Plays
ARDEN OF FAVERSHAM
THE BIRTH OF MERLIN
KING EDWARD III
THE LONDON PRODIGAL
THE SECOND MAIDEN’S TRAGEDY
SIR JOHN OLDCASTLE
THOMAS LORD CROMWELL
A YORKSHIRE TRAGEDY
SIR THOMAS MORE
THE MERRY DEVIL OF EDMONTON
THOMAS OF WOODSTOCK
VORTIGERN AND ROWENA
TALES FROM SHAKESPEARE BY CHARLES AND MARY LAMB
VENUS AND ADONIS
THE RAPE OF LUCRECE
THE PASSIONATE PILGRIM
THE PHOENIX AND THE TURTLE
A LOVER’S COMPLAINT
The Apocryphal Poetry
TO THE QUEEN
A FUNERAL ELEGY FOR MASTER WILLIAM PETER
SONNETS TO SUNDRY NOTES OF MUSIC
PREFACE TO SHAKESPEARE AND NOTES ON PLAY BY SAMUEL JOHNSON
NOTES TO COMEDIES BY SAMUEL JOHNSON
A STUDY OF SHAKESPEARE BY ALGERNON CHARLES SWINBURNE
and many more!
SHAKESPEARE: HIS LIFE, ART, AND CHARACTERS BY HENRY NORMAN HUDSON
and many more!
Shakespeare’s Last Will and Testament
Glossary of Elizabethan Language
If you have struggled in the past reading Shakespeare, then BookCaps can help you out. This book is a modern translation of A Midsummer Nights Dream.
A Midsummer’s Night Dream was written and first performed in the mid 1590’s. Shakespeare used the device of magic extensively in this early comedy. There are four separate but intertwined plots.
The original text is also presented in the book, along with a comparable version of the modern text.
We all need refreshers every now and then. Whether you are a student trying to cram for that big final, or someone just trying to understand a book more, BookCaps can help. We are a small, but growing company, and are adding titles every month. Visit BookCaps.com to find out more.
If you have struggled in the past reading Shakespeare, then we can help you out. Our books and apps have been used and trusted by millions of students worldwide.
Plain and Simple English books, let you see both the original and the modern text (modern text is underneath in italics)--so you can enjoy Shakespeare, but have help if you get stuck on a passage.
James D. Mardock’s Introduction provides an extensive discussion of Henry V’s critical and stage histories and explores the play’s complex relationship with other history plays (and with history itself). The appendices provide materials on the play’s historical background and sources, as well as documents on contemporary warfare. Additional materials, including an annotated text of the 1600 quarto (Q1) edition, are available on the Internet Shakespeare Editions website.
A collaboration between Broadview Press and the Internet Shakespeare Editions project at the University of Victoria, the editions developed for this series have been comprehensively annotated and draw on the authoritative texts newly edited for the ISE. This innovative series allows readers to access extensive and reliable online resources linked to the print edition.
The Ignatius Critical Editions represent a tradition-oriented alternative to popular textbook series such as the Norton Critical Editions orOxford World Classics, and are designed to concentrate on traditional readings of the Classics of world literature. Whereas many modern critical editions have succumbed to the fads of modernism and post-modernism, this series will concentrate on tradition-oriented criticism of these great works. Edited by acclaimed literary biographer, Joseph Pearce, the Ignatius Critical Editions will ensure that traditional moral readings of the works are given prominence, instead of the feminist, or deconstructionist readings that often proliferate in other series of 'critical editions'. As such, they represent a genuine extension of consumer-choice, enabling educators, students and lovers of good literature to buy editions of classic literary works without having to 'buy into' the ideologies of secular fundamentalism. The series is particularly aimed at tradition-minded literature professors offering them an alternative for their students. The initial list will have about 15 - 20 titles. The goal is to release three books a season, or six in a year.
This Macmillan Collector's Library edition is illustrated throughout by renowned artist Sir John Gilbert (1817-1897), and includes an introduction by Dr Robert Mighall.
Designed to appeal to the booklover, the Macmillan Collector's Library is a series of beautiful gift editions of much loved classic titles. Macmillan Collector's Library are books to love and treasure.
The play opens with the King of Navarre and three noble companions, Berowne, Dumaine, and Longaville, taking an oath to devote themselves to three years of study, promising not to give in to the company of women — Berowne somewhat more hesitantly than the others.
Though originally the play was classified as one of Shakespeare's comedies, the play is now considered by some critics to be one of his problem plays, so named because they cannot be neatly classified as tragedy or comedy.
Romeo and Juliet
The play is the final part of a tetralogy, preceded by Richard II, Henry IV, Part 1 and Henry IV, Part 2. The original audiences would thus have already been familiar with the title character, who was depicted in the Henry IV plays as a wild, undisciplined lad known as "Prince Harry" and by Falstaff as "Hal". In Henry V, the young prince has become a mature man and embarks on a successful conquest of France.
Also included in this edition are excerpts from a variety of literary source materials (including Geoffrey on Monmouth’s Historia Regum Britanniae, the anonymous True Chronicle Historie of King Leir, and Samuel Harsnett’s A Declaration of Egregious Popish Impostures); material on the historical Annesley case that raised many of the same issues as does Shakespeare’s play; and the happy ending from Nahum Tate’s version of the play, which held the stage for 150 years after its first performance in 1681.
OR, WHAT YOU WILL
by William Shakespeare
ORSINO, Duke of Illyria
SEBASTIAN, brother of Viola
ANTONIO, a sea captain, friend of Sebastian
A SEA CAPTAIN, friend of Viola
VALENTINE, gentleman attending on the Duke
CURIO, gentleman attending on the Duke
SIR TOBY BELCH, uncle of Olivia
SIR ANDREW AGUECHEEK
MALVOLIO, steward to Olivia
FABIAN, servant to Olivia
FESTE, a clown, servant to Olivia
OLIVIA, a rich countess
VIOLA, sister of Sebastian
MARIA, Olivia's waiting woman
Lords, Priests, Sailors, Officers, Musicians, and Attendants
A city in Illyria; and the sea-coast near it
ACT I. SCENE I.
The DUKE'S palace
Enter ORSINO, Duke of Illyria, CURIO, and other LORDS;
DUKE. If music be the food of love, play on,
Give me excess of it, that, surfeiting,
The appetite may sicken and so die.
That strain again! It had a dying fall;
O, it came o'er my ear like the sweet sound
That breathes upon a bank of violets,
Stealing and giving odour! Enough, no more;
'Tis not so sweet now as it was before.
O spirit of love, how quick and fresh art thou!
That, notwithstanding thy capacity
Receiveth as the sea, nought enters there,
Of what validity and pitch soe'er,
But falls into abatement and low price
Even in a minute. So full of shapes is fancy,
That it alone is high fantastical.
CURIO. Will you go hunt, my lord?
DUKE. What, Curio?
CURIO. The hart.
DUKE. Why, so I do, the noblest that I have.
O, when mine eyes did see Olivia first,
Methought she purg'd the air of pestilence!
That instant was I turn'd into a hart,
And my desires, like fell and cruel hounds,
E'er since pursue me.
How now! what news from her?
VALENTINE. So please my lord, I might not be admitted,
But from her handmaid do return this answer:
The element itself, till seven years' heat,
Shall not behold her face at ample view;
But like a cloistress she will veiled walk,
And water once a day her chamber round
With eye-offending brine; all this to season
A brother's dead love, which she would keep fresh
And lasting in her sad remembrance.
DUKE. O, she that hath a heart of that fine frame
To pay this debt of love but to a brother,
How will she love when the rich golden shaft
Hath kill'd the flock of all affections else
That live in her; when liver, brain, and heart,
These sovereign thrones, are all supplied and fill'd,
Her sweet perfections, with one self king!
Away before me to sweet beds of flow'rs:
Love-thoughts lie rich when canopied with bow'rs.
Your Deluxe Complete Shakespeare Collection includes:
+ Stockley’s treatise on “Some Historical Non-Shakespearean Plays” of the period
+ “How Shakespeare Learned His Trade” by Brander Matthews
+ Links to FREE and different audiobook versions of the Major Plays and Poems
+ Essay on “Shakespeare as an Actor”
+ RESEARCH Bibliography – since 2000 – “William Shakespeare” over 600 references in APA format with Database document links for easy research.
Specifically formatted for Home Reading, Academic Study, and Dramatic Productions.
For dramatists, loads of white space and the character name is above the dialogue for fast sight reading ...
*Table of Contents tree flips from Play to Act to Scene for quick referencing*
The texts are formatted and optimised for text-to-speech devices.
--Low, Low Price!--
All's Well That Ends Well
As You Like It
The Comedy of Errors
Love's Labours Lost
Measure for Measure
The Merry Wives of Windsor
The Merchant of Venice
A Midsummer Night's Dream
Much Ado About Nothing
Pericles, Prince of Tyre
Taming of the Shrew
Troilus and Cressida
Two Gentlemen of Verona
Henry IV, part 1
Henry IV, part 2
Henry VI, part 1
Henry VI, part 2
Henry VI, part 3
Antony and Cleopatra
Romeo and Juliet
Timon of Athens
A Lover's Complaint
The Rape of Lucrece
Venus and Adonis
A Funeral Elegy
It is the second longest play in the canon after Hamlet, and is the longest of the First Folio, whose version of Hamlet is shorter than its Quarto counterpart. The play is rarely performed unabridged; often, certain peripheral characters are removed entirely. In such instances extra lines are often invented or added from elsewhere in the sequence to establish the nature of characters' relationships. A further reason for abridgment is that Shakespeare assumed that his audiences would be familiar with the Henry VI plays, and frequently made indirect references to events in them, such as Richard's murder of Henry VI or the defeat of Henry's queen, Margaret.
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.