G B Harrison here recognizes that Shakespeare's tragedies were intended for performance in a theatre and that the playwright's conspicuous gift among his contemporaries was a sympathy for joy and sorrow, pity and terror, and right and wrong of his people. The plays covered are: Titus Andronicus, Romeo and Juliet, Julius Caesar, Hamlet, Troilus and Cressida, Othello, King Lear, Macbeth, Antony and Cleopatra, Coriolanus and Timon of Athens.
This ebook contains Shakespeare's complete plays and complete poems in a new, easy-to-read and easy-to-navigate format. This is the most reader-friendly introduction to Shakespeare available today. 'The Complete Works of William Shakespeare' collects all thirty-seven of the immortal Bard's comedies, tragedies, and historical plays in a Collectible Edition. This volume also features Shakespeare's complete poetry, including the sonnets. With this beautiful Collectible Edition, you can enjoy Shakespeare's enduring literary legacy again and again.
This collection features the following works:
A Midsummer Night’s Dream
All’s Well that Ends Well
Antony and Cleopatra
As You Like It
The Comedy of Errors
Hamlet, Prince of Denmark
King Henry the Eighth
King Henry the Fifth
King Henry the Fourth, the First Part
King Henry the Fourth, the Second Part
King Henry the Sixth, the First Part
King Henry the Sixth, the Second Part
King Henry the Sixth, the Third Part
King Richard the Second
King Richard the Third
Love’s Labour’s Lost
Measure for Measure
The Merchant of Venice
The Merry Wives of Windsor
Much Ado About Nothing
Othello, the Moor of Venice
Pericles, Prince of Tyre
Romeo and Juliet
The Taming of the Shrew
Timon of Athens
Troilus and Cressida
Twelfth Night; or, What You Will
The Two Gentlemen of Verona
The Winter’s Tale
SONNETS AND POEMS
A Lover’s Complaint
The Passionate Pilgrim
The Phoenix and the Turtle
The Rape of Lucrece
Venus and Adonis
(The Complete Works of William Shakespeare by William Shakespeare, 9789380914831)
In the years leading up to 1606, Shakespeare’s great productivity had ebbed. But that year, at age forty-two, he found his footing again, finishing a play he had begun the previous autumn—King Lear—then writing two other great tragedies, Macbeth and Antony and Cleopatra.
It was a memorable year in England as well—a terrorist plot conceived by a small group of Catholic gentry had been uncovered at the last hour. The foiled Gunpowder Plot would have blown up the king and royal family along with the nation’s political and religious leadership. The aborted plot renewed anti-Catholic sentiment and laid bare divisions in the kingdom.
It was against this background that Shakespeare finished Lear, a play about a divided kingdom, then wrote a tragedy that turned on the murder of a Scottish king, Macbeth. He ended this astonishing year with a third masterpiece no less steeped in current events and concerns: Antony and Cleopatra.
“Exciting and sometimes revelatory, in The Year of Lear, James Shapiro takes a closer look at the political and social turmoil that contributed to the creation of three supreme masterpieces” (The Washington Post). He places them in the context of their times, while also allowing us greater insight into how Shakespeare was personally touched by such events as a terrible outbreak of plague and growing religious divisions. “His great gift is to make the plays seem at once more comprehensible and more staggering” (The New York Review of Books). For anyone interested in Shakespeare, this is an indispensable book.
William Shakespeare, the most celebrated poet in the English language, left behind nearly a million words of text, but his biography has long been a thicket of wild supposition arranged around scant facts. With a steady hand and his trademark wit, Bill Bryson sorts through this colorful muddle to reveal the man himself. His Shakespeare is like no one else's—the beneficiary of Bryson's genial nature, his engaging skepticism, and a gift for storytelling unrivaled in our time.
Drawing on her hugely popular lecture courses at Yale and Harvard over the past thirty years, Marjorie Garber offers passionate and revealing readings of the plays in chronological sequence, from The Two Gentlemen of Verona to The Two Noble Kinsmen. Supremely readable and engaging, and complete with a comprehensive introduction to Shakespeare’s life and times and an extensive bibliography, this magisterial work is an ever-replenishing fount of insight on the most celebrated writer of all time.
Something may be rotten in the state of Denmark, but your grades will be sweet when you rely on CliffsNotes on Hamlet as you digest Shakespeare's tragic masterpiece. In this play, Hamlet explores the meaning of life, death, eternity, relationships, hypocrisy, truth, the existence of God, and almost anything else that concerns mankind.
Character studies shed new light on Prince Hamlet, his father King Hamlet, the malevolent Claudius, the troubled Ophelia — and the rest of the cast. You'll also explore the life and times of William Shakespeare, and unlock the play's themes and literary devices. Count on CliffsNotes on Hamlet for detailed summaries and commentaries on every scene to help you appreciate the complexity of the play.
Other features that help you study include Character analyses of major playersA character map that graphically illustrates the relationships among the charactersCritical essaysA review section that tests your knowledge
Classic literature or modern modern-day treasure — you'll understand it all with expert information and insight from CliffsNotes study guides.
Have you ever enjoyed a slam or two and thought, "I could do this," but felt apprehensive staring at that empty mic—or worse, you climbed up on stage and struggled?
Let Marc Kelly Smith, the founder of Slam Poetry, teach you everything you need to be a confident performer, from writing a powerful poem, to stage techniques, to going on tour (if that's where your muse leads you).
Take the Mic is filled with insider tips, backstage advice, and tons of examples of slam poems that wake up an audience. With this book, you'll also be able to link to the PoetrySpeaks.com community to listen to samples, meet poets, and unearth inspirations for your next performance.
The Ultimate Guide to Writing and Performing with Power
Take the Mic is an essential guide for lifting your poetry from the page to the stage. Marc Kelly Smith (So What!), grand founder of the Slam movement, serves as you personal coach, showing you how to craft stage-worthy verse and deliver a poetry performance that shakes the rafters and sparks thunderous applause. In Take the Mic, you discover how to...Pen poetry that's conducive to on-stage performance Overcome stage fright Practice powerful performance techniques Rehearse like a pro Shape a loose collection of poems into a killer set Connect with your audience — heart and soul Master the art of self-promotion Schedule your own slam poetry tour Transform your hobby into paying gigs Act professional to establish a solid reputation in the Slam community
Take the Mic is packed with practical exercises you can do alone or in class to hone your skills and transform your body, mind, voice, verse, and spirit into an engaging stage presence.
You'll also find a brief history of slam, the rules and regulations that govern official slam competitions, and a list of PSI (Poetry Slam, Inc.) Certified Slams, so no matter where you are, you always have a place to Take the Mic!
If you have struggled in the past reading Shakespeare, then BookCaps can help you out. This book is a modern translation of a Twelfth Night.
The original text is also presented in the book, along with a comparable version of both 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.
To know some Shakespeare provides a head start in life. His plays are among the great bedrocks of Western civilization and contain the finest writing of the past 450 years. Many of the best novels, plays, poems, and films in the English language produced since Shakespeare’s death in 1616—from Pride and Prejudice to The Godfather—are heavily influenced by Shakespeare’s stories, characters, language, and themes. In How to Teach Your Children Shakespeare, acclaimed playwright Ken Ludwig provides the tools you need to inspire an understanding, and a love, of Shakespeare’s works in your children, and to have fun together along the way.
Ken Ludwig devised his friendly, easy-to-master methods while teaching his own children. Beginning with memorizing short passages from the plays, his technique then instills children with cultural references they will utilize for years to come. Ludwig’s approach includes understanding of the time period and implications of Shakespeare’s diction as well as the invaluable lessons behind his words and stories. Colorfully incorporating the history of Shakespearean theater and society, How to Teach Your Children Shakespeare guides readers on an informed and adventurous journey through the world in which the Bard wrote.
This book’s simple process allows anyone to impart to children the wisdom of plays like A Midsummer Night’s Dream, Twelfth Night, Macbeth, and Romeo and Juliet. And there’s fun to be had throughout. Shakespeare novices and experts and readers of all ages will each find something delightfully irresistible in How to Teach Your Children Shakespeare.
Describing Dante's descent into Hell with Virgil as a guide, Inferno depicts a cruel underworld in which desperate figures are condemned to eternal damnation for committing one or more of seven deadly sins. As he descends through nine concentric circles of increasingly agonising torture, Dante encounters many doomed souls before he is finally ready to meet the ultimate evil in the heart of Hell: Satan himself.
This new edition of Inferno includes explanatory notes and an illustration of Dante's plan of hell. Robin Kirkpatrick's masterful translation is also available in a bilingual Penguin edition, with the original Italian on facing pages, and in a complete edition of The Divine Comedy with an introduction and other editorial materials.
Dante Alighieri was born in 1265. He studied at the university of Bologna, married at the age of twenty and had four children. His first major work was La Vita Nuova (1292), a tribute to Beatrice Portinari, the great love of his life who had died two years earlier. In 1302, Dante's political activism resulted in his being exiled from Florence. After years of wandering, he settled in Ravenna and in about 1307 began writing The Divine Comedy. Dante died in 1321.
Robin Kirkpatrick is a poet and widely-published Dante scholar. He has taught courses on Dante's Divine Comedy in Hong Kong, Dublin and Cambridge, where is Fellow of Robinson College and Professor of Italian and English Literatures.
'The perfect balance of tightness and colloquialism...likely to be the best modern version of Dante' - Bernard O'Donoghue
“How lucky the young poet who discovers this wisest and most lighthearted of manuals.”—James Merrill
“Marvelously comprehensive, clarifying and useful, and a delight to read.”—John Reardon, Los Angeles Times Book Review
“A virtuoso performance and a mandatory text for poetry readers and practioners alike.”—ALA Booklist
"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture."--C. L. Barber, in the Introduction
This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing that Shakespeare's Festive Comedy is as vital today as when it was originally published.
"In his work a continent awakens to consciousness." So wrote the Swedish Academy in awarding the Nobel Prize to Pablo Neruda, the author of more than thirty-five books of poetry and one of Latin America's most revered writers, lionized during his lifetime as "the people's poet."
This selection of Neruda's poetry, the most comprehensive single volume available in English, presents nearly six hundred poems, scores of them in new and sometimes multiple translations, and many accompanied by the Spanish original. In his introduction, Ilan Stavans situates Neruda in his native milieu as well as in a contemporary English-language one, and a group of new translations by leading poets testifies to Neruda's enduring, vibrant legacy among English-speaking writers and readers today.
Gregory Orr draws from a generous array of sources. He weaves discussions of work by Keats, Dickinson, and Whitman with quotes from three-thousand-year-old Egyptian poems, Inuit songs, and Japanese love poems to show that writing personal lyric has helped poets throughout history to process emotional and experiential turmoil, from individual stress to collective grief. More specifically, he considers how the acts of writing, reading, and listening to lyric bring ordering powers to the chaos that surrounds us. Moving into more contemporary work, Orr looks at the poetry of Sylvia Plath, Stanley Kunitz, and Theodore Roethke, poets who relied on their own work to get through painful psychological experiences.
As a poet who has experienced considerable trauma--especially as a child--Orr refers to the damaging experiences of his past and to the role poetry played in his ability to recover and survive. His personal narrative makes all the more poignant and vivid Orr's claims for lyric poetry's power as a tool for healing. Poetry as Survival is a memorable and inspiring introduction to lyric poetry's capacity to help us find safety and comfort in a threatening world.
This anthology embraces a wide variety of compositions: it ranges from song-poems of the Pele and Hiiaka cycle and the pre-Christian Shark Hula for Ka-lani-opuu to postmissionary chants and gospel hymns. These later selections date from the reign of Ka-mehameha III (1825-1854) to that of Queen Liliu-o-ka-lani (1891-1893) and comprise the major portion of the book. They include, along with heroic chants celebrating nineteenth-century Hawaiian monarchs, a number of works composed by commoners for commoners, such as Bill the Ice Skater, Mr. Thurston's Water-Drinking Brigade, and The Song of the Chanter Kaehu. Kaehu was a distinguished leper-poet who ended his days at the settlement-hospital on Molokai.
From the Hardcover edition.
Quincy Troupe • Czeslaw Milosz • Campbell McGrath • C.D. Wright • Jack Gilbert • Heather McHugh • David Lehman • Wang Ping • Joseph Brodsky • Paul Beatty • Lorna Dee Cervantes • Paul Muldoon • Lucille Clifton • Naomi Shihab Nye • Richard Blanco • Albert Goldbarth • Carrie Allen McCray • Belle Waring • Russell Edson • Kevin Young • Nuali Di Dhomhnaill • Charles Harper Webb • Denise Duhamel • Yusef Komunyakaa • Hal Sirowitz • Lucia Perillo • Amy Gerstler • Maura Stanton • Marilyn Chin • Philip Booth • Jane Cooper • Diane DiPrima • Elizabeth Spires
From the Trade Paperback edition.
Mattie J. T. Stepanek lived and died a child, but he had the spirit of a giant. Affected by a rare and fatal neuromuscular disease, Mattie lived almost fourteen years but in that time became a poet, best-selling author, peace activist, and a prominent voice for the Muscular Dystrophy Association. Before his death in June 2004, his five volumes of Heartsongs poetry sold more than a million copies.
Reflections of a Peacemaker: A Portrait Through Heartsongs is the final collection of Heartsongs that Mattie was working on when he died. It includes the last poem Mattie penned along with a special collection of unpublished poetry, photographs, and artwork spanning the decade from when he began writing Heartsongs at age three. Culled from the thousands of poems, essays, and journal entries Mattie left behind, the entries in Reflections of a Peacemaker create a portrait of Mattie in his own words. In these poems he explores disability, despair, and death but also the gifts he finds in nature, prayer, peace, and his belief in something "bigger and better than the here and now." The poems are grouped by theme such as playful, stormy, sacred, and final Heartsongs, with each section introduced by a personal tribute from the likes of Maya Angelou, Oprah Winfrey, Larry King, and former President Jimmy Carter.
In the words of Mattie's mother, Jeni Stepanek, who has published Reflections of a Peacemaker at her son's request, "In reading these poems we enter Mattie's world and gain insight through a child who somehow balanced pain and fear with optimism and faith."
From the Trade Paperback edition.
The "far, stubborn, disastrous" course of Jack Gilbert's resolute journey--not one that would promise in time to bring him home to the consolations of Penelope and the comforts of Ithaca but one that would instead take him ever outward to the impossible blankness of the desert--could never have been achieved in the society of others. What has kept this great poet brave has been the difficult company of his poems--and now we have, in Gilbert's third and most silent book, what may be, what must be, the bravest of these imperial accomplishments.
In The Shakespeare Wars, Ron Rosenbaum gives readers an unforgettable way of rethinking the greatest works of the human imagination. As he did in his groundbreaking Explaining Hitler, he shakes up much that we thought we understood about a vital subject and renews our sense of excitement and urgency. He gives us a Shakespeare book like no other. Rather than raking over worn-out fragments of biography, Rosenbaum focuses on cutting-edge controversies about the true source of Shakespeare’s enchantment and illumination–the astonishing language itself. How best to unlock the secrets of its spell?
With quicksilver wit and provocative insight, Rosenbaum takes readers into the midst of fierce battles among the most brilliant Shakespearean scholars and directors over just how to delve deeper into the Shakespearean experience–deeper into the mind of Shakespeare.
Was Shakespeare the one-draft wonder of Shakespeare in Love? Or was he rather–as an embattled faction of textual scholars now argues–a different kind of writer entirely: a conscientious reviser of his greatest plays? Must we then revise our way of reading, staging, and interpreting such works as Hamlet and King Lear?
Rosenbaum pursues key partisans in these debates from the high tables of Oxford to a Krispy Kreme doughnut shop in a strip mall in the Deep South. He makes ostensibly arcane textual scholarship intensely seductive–and sometimes even explicitly sexual. At an academic “Pleasure Seminar” in Bermuda, for instance, he examines one scholar’s quest to find an orgasm in Romeo and Juliet. Rosenbaum shows us great directors as Shakespearean scholars in their own right: We hear Peter Brook–perhaps the most influential Shakespearean director of the past century–disclose his quest for a “secret play” hidden within the Bard’s comedies and dramas. We listen to Sir Peter Hall, founder of the Royal Shakespeare Company, as he launches into an impassioned, table-pounding fury while discussing how the means of unleashing the full intensity of Shakespeare’s language has been lost–and how to restore it. Rosenbaum’s hilarious inside account of “the Great Shakespeare ‘Funeral Elegy’ Fiasco,” a man-versus-computer clash, illustrates the iconic struggle to define what is and isn’t “Shakespearean.” And he demonstrates the way Shakespearean scholars such as Harold Bloom can become great Shakespearean characters in their own right.
The Shakespeare Wars offers a thrilling opportunity to engage with Shakespeare’s work at its deepest levels. Like Explaining Hitler, this book is destined to revolutionize the way we think about one of the overwhelming obsessions of our time.
From the Hardcover edition.
Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.
A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.
In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.
We hear from James Earl Jones on reclaiming Othello as a tragic hero, Julie Taymor on turning Prospero into Prospera, Camille Paglia on teaching the plays to actors, F. Murray Abraham on gaining an audience’s sympathy for Shylock, Sir Ben Kingsley on communicating Shakespeare’s ideas through performance, Germaine Greer on the playwright’s home life, Dame Harriet Walter on the complexity of his heroines, Brian Cox on social conflict in his time and ours, Jane Smiley on transposing King Lear to Iowa in A Thousand Acres, and Sir Antony Sher on feeling at home in Shakespeare’s language. Together these essays provide a fresh appreciation of Shakespeare’s works as a living legacy to be read, seen, performed, adapted, revised, wrestled with, and embraced by creative professionals and lay enthusiasts alike.
F. Murray Abraham ● Isabel Allende ● Cicely Berry ● Eve Best ● Eleanor Brown ● Stanley Cavell ● Karin Coonrod ● Brian Cox ● Peter David ● Margaret Drabble ● Dominic Dromgoole ● David Farr ● Fiasco Theater ● Ralph Fiennes ● Angus Fletcher ● James Franco ● Alan Gordon ● Germaine Greer ● Barry John ● James Earl Jones ● Sir Ben Kingsley ● Maxine Hong Kingston ● Rory Kinnear ● J. D. McClatchy ● Conor McCreery ● Tobias Menzies ● Joyce Carol Oates ● Camille Paglia ● James Prosek ● Richard Scholar ● Sir Antony Sher ● Jane Smiley ● Matt Sturges ● Julie Taymor ● Eamonn Walker ● Dame Harriet Walter ● Bill Willingham ● Jess Winfield
“Two roads diverged in a yellow wood . . .” One hundred years after its first publication in August 1915, Robert Frost’s poem “The Road Not Taken” is so ubiquitous that it’s easy to forget that it is, in fact, a poem. Yet poetry it is, and Frost’s immortal lines remain unbelievably popular. And yet in spite of this devotion, almost everyone gets the poem hopelessly wrong.
David Orr’s The Road Not Taken dives directly into the controversy, illuminating the poem’s enduring greatness while revealing its mystifying contradictions. Widely admired as the poetry columnist for The New York Times Book Review, Orr is the perfect guide for lay readers and experts alike. Orr offers a lively look at the poem’s cultural influence, its artistic complexity, and its historical journey from the margins of the First World War all the way to its canonical place today as a true masterpiece of American literature.
“The Road Not Taken” seems straightforward: a nameless traveler is faced with a choice: two paths forward, with only one to walk. And everyone remembers the traveler taking “the one less traveled by, / And that has made all the difference.” But for a century readers and critics have fought bitterly over what the poem really says. Is it a paean to triumphant self-assertion, where an individual boldly chooses to live outside conformity? Or a biting commentary on human self-deception, where a person chooses between identical roads and yet later romanticizes the decision as life altering?
What Orr artfully reveals is that the poem speaks to both of these impulses, and all the possibilities that lie between them. The poem gives us a portrait of choice without making a decision itself. And in this, “The Road Not Taken” is distinctively American, for the United States is the country of choice in all its ambiguous splendor.
Published for the poem’s centennial—along with a new Penguin Classics Deluxe Edition of Frost’s poems, edited and introduced by Orr himself—The Road Not Taken is a treasure for all readers, a triumph of artistic exploration and cultural investigation that sings with its own unforgettably poetic voice.
This complete edition brings together all the poems of Carver’s five previous books, from Fires to the posthumously published No Heroics, Please. It also contains bibliographical and textual notes on individual poems; a chronology of Carver’s life and work; and a moving introduction by Carver’s widow, the poet Tess Gallagher.
From the Trade Paperback edition.
In the sixth century b.c.-twenty-five hundred years before Einstein-Heraclitus of Ephesus declared that energy is the essence of matter, that everything becomes energy in flux, in relativity. His great book, On Nature, the world's first coherent philosophical treatise and touchstone for Plato, Aristotle, and Marcus Aurelius, has long been lost to history-but its surviving fragments have for thousands of years tantalized our greatest thinkers, from Montaigne to Nietzsche, Heidegger to Jung. Now, acclaimed poet Brooks Haxton presents a powerful free-verse translation of all 130 surviving fragments of the teachings of Heraclitus, with the ancient Greek originals beautifully reproduced en face.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
From the Trade Paperback edition.
For Wislawa Szymborska, the catalyst is a dream; for Robert Bly, being in the company of his ten-year-old son; for Gerald Stern, it is a grapefruit at breakfast; for Billy Collins, a cigarette. Dancing with Joy includes English and Italian classical and romantic works; early Chinese and Persian verse; and poets from Chile, France, Sweden, Poland, Russia, Turkey, and India, plus a range of contemporary American and English poets.
Whether inspiration is what you need, or an affirmation of what is already joyful in life, Dancing with Joy is a welcome treat for Housden’s numerous fans, as well as anyone looking for sheer happiness, marvelously expressed.
From the Hardcover edition.
-- John SturrockFrench StudiesClearly a landmark study. It seems certain to provoke a great deal of productive debate among those concerned with any of the many issues it raises.
-- Comparative Literature
The literary self-portrait, often considered to be an ill- formed autobiography, is receiving more attention as a result of the current obsession with personal narrative, but little progress has been made toward an understanding of its specific features. With Poetics of the Literary Self-Portrait, Michel Beaujour reveals the hidden ambitions of this genre. From St. Augustine to Montaigne, from Nietzsche to Malraux, Leiris and Barthes, individual self-portraits are analyzed jointly with the enduring cultural matrix from which self-portrayal derives its disconcerting non-narrative structure, and many of its recurrent topics.
Lucid language and dramatic illustrations re-create the Bard's world of kings and queens, fairies and potions, and bloody beheadings. It imparts an amazing amount of vivid, interesting material about place, period and background of Shakespeare.
This sweeping account is a biography, a history, and a retelling of some of Shakespeare’s most famous plays—all in one approachable volume.
• Shakespeare's Early Life
• Life as Playwright and Actor
• Theatre Companies
• Style of Presentation
• Last Years of Life
• England of Shakespeare's Days
• Drama in Shakespeare's Days
• Shakespeare's Greatness as a Poet
• Shakespeare's Influence
• Works of Shakespeare in detail
• Principal Facts of Shakespeare's Life
Publisher : General Press
Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics. His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential. For, as John Bayley observes, these lectures give us a true and exhilarating sense of 'the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things.
In the spirit of Blake’s vow of “mental fight,” Grossman contends with challenges to the validity of the poetic imagination, from Adorno’s maxim “No poetry after Auschwitz,” to the claims of religious authority upon truth, and the ultimate challenge posed by the fact of death itself. To these challenges he responds with eloquent and rigorous arguments, drawing on wide resources of learning and his experience as master-poet and teacher. Grossman’s readings of Wordsworth, Hart Crane, Paul Celan, and others focus on poems that interrogate the real or enact the hard bargains that literary representation demands. True-Love is destined to become an essential book wherever poetry and criticism sustain one another.
This collection offers readers sundry answers to these questions by showcasing a sampling of ways this culturally arresting play can be read and interpreted. The strength of this monograph lies in the disparate approaches its contributors offer – from a feminist view of Portia and Nerissa’s friendship to psychoanalytic readings of allegories between the play and Shakespeare’s Pericles to a reading of a Manga comic book version of The Merchant of Venice. Each essay is supported by a strong basis in traditional close reading practices. Our collection of scholars then buttresses such work with the theoretical or pedagogical frameworks that reflect their area of expertise. This collection offers readers different critical lenses through which to approach the primary text.
Although Shakespeare scholars and graduate students will no doubt appreciate and employ the work of this collection, the primary audience of this anthology is undergraduate students and the professors who work with them. Many budding scholars have had the experience of checking out a monograph from the library and then finding it was a waste of time because the author spends three hundred pages discussing a perspective of which they have no interest. With this collection, students will not only see how multi-faceted interpretations of the play can be but they also are more likely to find essays that appeal to their own research interests.