Shakespeare William

This is a wonderful collection of retellings of six of William Shakespeare's best-loved plays — a perfect mix of comedy, tragedy, magic and romance — retold for younger readers. Full of colourful illustrations from the Usborne Young Reading Programme. It contains A Midsummer Night's Dream, Hamlet, Macbeth, Romeo and Juliet, The Tempest and Twelfth Night. It includes a section at the back on the life and times of William Shakespeare. It comes now in a shrink-wrapped, luxurious cloth-bound edition, making it a gift to treasure.

Dès ses premières représentations à la fin du XVIe siècle, la pièce de Shakespeare connaît un succès considérable. Le dramaturge anglais donne à l'histoire tragique des deux amants de Vérone une dimension mythique. L'édition Classico propose la traduction de J.-M. Déprats, publiée en 2002, et qui est aujourd'hui considérée comme la traduction de référence. Dans le volume de l'édition, de nombreux éclairages sur les adaptations musicales et cinématographiques de l'œuvre (Histoire des arts). Groupements de textes de l'édition: Passions mortelles, Le poids de la fatalité.

As attested to by countless stage and screen productions, Hamlet forever retains its fascination for audiences. It's an absorbing intellectual drama of the contemplative prince who reluctantly ventures in pursuit of revenge. Hamlet's musings on the nature and consequences of human activity have accorded him the reputation as literature's first modern man.

Lovely Bianca has a queue of admirers anxious to marry her. But her older sister, Katharina, must get married first. Katharina has such a fiery temper she is known as 'the shrew', and no man is brave enough to propose. Can Petruchio tame her with his outrageous behaviour? With Notes on Shakespeare and the Globe Theatre and Love and Marriage in The Taming of the Shrew.

King Lear is old but not wise. He loves the two daughters who secretly hate him. He hates the only daughter who really loves him. In time, he discovers his mistake. Has he learnt his lesson? Or will his proud and angry nature bring him even more sadness and pain?

This is a wonderful collection of six retellings of William Shakespeare's best-loved plays — a perfect mix of comedy, tragedy, magic and romance, retold for younger readers. It is full of colourful illustrations from the Usborne Young Reading Programme. It contains the plays: A Midummer Night's Dream, Hamlet, Macbeth, Romeo and Juliet, The Tempest, and Twelfth Night. It also includes a section at the back on the life and times of Shakespeare.

An elaborately annotated edition of Shakespeare's masterpieces of wit and erotic word-play. When a volume of poetry entitled Shakespeares Sonnets. Never before Imprinted appeared in 1609, Shakespeare was forty-five and most of his greatest plays had seen several performances. Some of the sonnets, speaking of the begetting of children, mortality and memory, art, desire and jealousy, are addressed to a beloved youth; others are addressed to a treacherous mistress, a dark lady. Appended to the sonnets is A Lover's Complaint, a beautiful poem in rhyme-royal in which a young woman is overheard lamenting her betrayal by a heartless seducer. While Shakespeare's biographers continue their investigations, readers may find the secret of the sonnets in the poetry itself. In this spirit John Kerrigan provides an illuminating Introduction to the volume as a whole, together with 258 pages of commentaries on the poems, a textual history, and suggestions for further reading.

This generously annotated updated edition of Coriolanus provides a thorough reconsideration of Shakespeare's remarkable, and probably his last, tragedy. A substantial introduction situates the play within its contemporary social and political contexts — dearth, riots, the struggle over authority between James I and his first parliament, the travails of Essex and Ralegh — and pays particular attention to Shakespeare's shaping of his primary source in Plutarch's Lives. It presents a fresh account of how the protagonist's personal tragedy evolves within Shakespeare's most searching exploration of the political life of a community. The edition is alert throughout to the play's theatrical potential, while the stage history also attends to the politics of performance from the 1680s onwards, including European productions following the Second World War. A new introductory section by Bridget Escolme covers recent productions of Coriolanus, and criticism of the last ten years, with particular focus on gender and the play's politics.

This new edition of Shakespeare's The Merry Wives of Windsor focuses on a theatrical understanding of the play. While emphasising the liveliness of the play in stage terms, David Crane also claims that this citizen comedy needs to be taken much more seriously than in the past, as an expression of Shakespeare's fundamental understanding of human life, conveyed centrally in the character of Falstaff. In the process he also examines Shakespeare's free and vigorous use of different linguistic worlds within the play. The revision of this edition includes a response to some current arguments about the dating of Merry Wives, and also considers how recent productions bear upon the critical and theatrical account Crane gives of the play.

Kate, Mike and Carlos go on another trip to Bodega Bay near San Francisco, where more than a year ago they found a pirate's old treasure map. An incredibly exciting and dangerous adventure awaits them as they follow a mysterious clue and go on a treasure hunt to find a lost treasure from centuries ago. The GREEN APPLE series is composed of illustrated graded readers. The readers are graded into three levels — Starter, Step 1 and Step 2 — according to structural and lexical criteria, as well as by choice of subject matter.

Учебное издание популярнейшей трагедии У. Шекспира предназначено для учащихся старших классов гимназий с углубленным изучением английского языка, студентов-филологов, а также для широкого круга читателей, владеющих английским языком. Издание снабжено постраничными сносками и подробным комментарием, иллюстрациями, списком произношения имен собственных. Текст печатается по оксфордскому изданию 1914 года.

Pour mener à bien sa vengeance sans éveiller les soupçons, Hamlet feint la folie. Lorsque le fantôme de son père lui révèle que Claudius, souverain actuel et frère du défunt roi, est le meurtrier de celui-ci, on s'attend à une stratégie ingénieuse, d'autant que le prince semble plein de courage, d'insolence et d'esprit. Or, durant quatre actes, il ne commet qu'un seul meurtre, conséquence d'une erreur de perception. À la fin de la pièce, il venge son père, mais in extremis. Hamlet est une tragédie intérieure, presque intime, dont le rythme est motivé par les hésitations du héros qui donnent lieu à des scènes superbes de grandeur pathétique, car elles disent l'aspiration de l'homme à la liberté et au repos, malgré l'enfermement obsessionnel auquel l'existence le condamne. Tragédie du doute, voyage dans un esprit qui ne rêve que d'immatérialité mais ne parvient pas à prendre son envol, Hamlet, pièce mélancolique, nous invite à un saut existentiel.

Performed variously as escapist fantasy, celebratory fiction, and political allegory, The Tempest is one of the plays in which Shakespeare's genius as a poetic dramatist found its fullest expression. Significantly, it was placed first when published in the First Folio of 1623, and is now generally seen as the playwright's most penetrating statement about his art. Stephen Orgel's wide-ranging introduction examines changing attitudes to The Tempest, and reassesses the evidence behind the various readings. He focuses on key characters and their roles and relationships, as well as on the dramatic, historical, and political context, finding the play to be both more open and more historically determined than traditional views have allowed.

Timon of Athens is a bitterly intriguing study of a fabulously rich man who wastes his wealth on his friends, and, when he is finally impoverished, learns to despise humanity with a hatred that drives him to his grave. The play's plot structure is schematically clear, and the poetry of Timon's rage is arresting in its savage intensity. Yet readers have often detected loose ends, and the tone of writing is uneven. In his introduction, John Jowett explains how these characteristics arise because the play was written as a collaboration between Shakespeare and Thomas Middleton. This edition pays full justice to Middleton's presence, explaining how his contribution gave the play its distinctive edge. Readers need to read this play as a dialogue between writers of different temperaments, and this edition is the first to make such a reading possible. The introduction provides the fullest account of the play's performance history available. The commentary is the most detailed ever to have been published. Appendices include source materials and a listing of major productions worldwide.

This is the first fully annotated modern-spelling edition of King Henry VIII to appear for over a decade and includes up-to-date scholarship on all aspects of the play, including dating authorship, printing, sources and stage history. The editor accepts the view that the play is a collaboration between Shakespeare and Fletcher. Unique to this edition is the frequent reference to Cavendish's biography of Wolsey, neglected in earlier editions. This edition includes a fully detailed commentary and a selective collation of major variant readings appear immediately beneath the text. Special attention has been paid to the frequent allusion to scripture and proverb law. An index to all words glossed and authorities cited appears at the end of the volume.

A Midsummer Night's Dream is perhaps Shakespeare's most popular play, particularly as a first introduction to Shakespeare for children--filled as it is with a marvelous mixture of aristocrats, workers, and fairies. For this edition, Peter Holland's introduction looks at dreams and dreamers, tracing the materials out of which Shakespeare constructs his world of night and shadows.

Usually classified as a «problem comedy», All's Well that Ends Well is a psychologically disturbing presentation of an aggressive, designing woman and a reluctant husband wooed by trickery. In her introduction Susan Snyder makes the play's clashing ideologies of class and gender newly accessible, and offers a fully reconsidered, annotated text for both readers and actors.

With its witty heroine Rosalind, who has the longest role of Shakespeare's female characters, As You Like It is Shakespeare's most light-hearted and most performed comedy. This edition includes numerous illustrations of productions and reassesses both its textual and performance history, showing how interpretations have changed since the first recorded production in 1740. It also examines Shakespeare's sources and elucidates the central themes of love, pastoral, and doubleness, and provides detailed annotations investigating the play's allusive and often bawdy language.

Perhaps the most brilliant political play ever written, Coriolanus is a gripping psychological study of the relationship between personality and politics, and its Roman hero one of the most memorable Shakespeare ever created. The introduction to this new edition offers the first full stage history and analysis of the original production of Coriolanus at the Blackfriars theater, and also examines Shakespeare's adaptation of his historical material while emphasizing the wide range of interpretations that are possible in performance.

The introduction includes an examination of the Quarto and texts, and of the relationship between them; a critical discussion of the play's historical and literary sources; an examination of conflicting critical attitudes to the play, and of its fluctuating theatrical fortunes; and a demonstration of the range and variety of Shakespeare's characterization.

Henry VI: Part One is a dramatic tale of the lives of soldiers, diplomats, kings, and insurrectionists. It depicts 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, Henry VI: Part One does not appear in printed form until 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 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. Taylor edits the play for students, scholars, and theater-goers with an informative commentary on all aspects of the language, action, characters, and staging. About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

This new edition to the Oxford Shakespeare series, based on the 1623 First Folio text, challenges conventional thinking about the nature and relationship of the earliest texts. It contributes substantial new evidence about Shakespeare's revision of the plays and the introduction and commentary focus on stage-oriented discussions of the play's meaning and reception.

Love's Labour's Lost, now recognized as one of the most delightful and stageworthy of Shakespeare's comedies, came into its own both on the stage and in critical esteem only during the 1930s and 1940s--after nearly three hundred years of neglect by the theater and misuse by critics. In this new critical edition, Hibbard pays particular attention to this process of rehabilitation. Based on the quarto of 1598, and drawing on recent scholarly analysis, he proposes that the quarto goes back, probably by way of a «lost» quarto, to an authorial manuscript that represents the play in a state prior to «fair copy.» He offers numerous original readings of difficult and disputed passages, and a helpful commentary to the play's scintillating language.

Shakespeare's vivid dramatic projection of moral and ethical issues in Measure for Measure has given the play great appeal to both readers and theatergoers. Exploring the play's qualities as a complex work of art written specifically for the theater, the introduction to this new edition sets the play in its historical context, discussing the originality of Shakespeare's treatment of a well-known story. Bawcutt explains the obsolete marriage customs, and also offers a comprehensive account of the text's theatrical afterlife from Restoration adaptations to recent productions.