Karl Klein's edition of Timon of Athens introduces Shakespeare's play as a complex exploration of a corrupt, moneyed society. Klein sees the protagonist not as a failed tragic hero, but as a rich and philanthropic nobleman, surrounded by greed and sycophancy, who is forced to recognise the inherent destructiveness of the Athenian society from which he retreats in disgust and rage. Klein establishes Timon as one of Shakespeare's late works, arguing, contrary to recent academic views, that evidence for other authors besides Shakespeare is inconclusive. The edition shows that the play is neither tragedy, satire nor comedy, but a subtle and complete drama whose main characters contain elements of all three genres. This edition was near completion at the time of Karl Klein's death, and was prepared for publication by his colleagues and by Brian Gibbons.

«Полный, неадаптированный текст произведения. Love, sex and death are the components of Shakespeare's classic story of the love of two young people which reaches across the barriers of family and convention. It encompasses great love, high drama, low comedy and a tragic ending. «Romeo and Juliet» is a pure tragedy of youth told in verse that is both youthful and intense. The loveliness and the music of the poetry make believable the otherwise commonplace afflictions of blighted love. The beautiful personification of some of the main characters has caused Romeo, Juliet, Mercutio and the Nurse to become part of the world's literary mythology.»

Over the last two decades there has been a resurgence of theatrical interest in Shakespeare's Pericles, which has been rescued from comparative neglect and is now frequently performed. This development is charted in the introduction to this edition, which differs radically from any other currently available. Doreen DelVecchio and Antony Hammond reject the current orthodoxies that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare's manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.

Edward III is a major new addition to the Shakespearean canon. Melchiori claims that Shakespeare is the author of a significant part of the play, the extent of which is discussed in detail. The introduction explores the play's historical background and its relationship to the early cycle of history plays. The commentary examines in depth the play's linguistic and poetic features, while an extensive appendix on the use of sources explains the stages of its composition.

«The greatest works of tragedy from the Bard, this book features «Hamlet, Othello, King Lear» and «Macbeth».»

This is the most extensively annotated edition of Macbeth currently available, offering a thorough reconsideration of one of Shakespeare's most popular plays. A full and accessible introduction studies the immediate theatrical and political contexts of Macbeth's composition, especially the Gunpowder Plot and the contemporary account of an early performance at the Globe. It treats such celebrated issues as whether the Witches compel Macbeth to murder; whether Lady Macbeth is herself a witch; whether Banquo is Macbeth's accomplice in crime and what criticism is levelled against Macduff. An extensive, well-illustrated account of the play in performance examines several cinematic versions, such as those by Kurosawa and Roman Polanski, and other dramatic adaptations. Several possible new sources are suggested, and the presence of Thomas Middleton's writing in the play is proposed. Appendixes contain additional text and accompanying music.

This popular series of readers has now been completely revised and updated, using a new syllabus and new word structure lists. Readability has been ensured by means of specially designed computer software. Words that are above level but essential to the story are explained within the text, illustrated, and then reused for maximum reinforcement.

Je sais un banc où s'épanouit le thym sauvage, où poussent l'oreille-d'ours et la violette branlante. Il est couvert par un dais de chèvrefeuilles vivaces, de suaves roses musquées et d'églantiers. C'est là que dort Titania, à certain moment de la nuit, bercée dans ces fleurs par les danses et les délices; c'est là que la couleuvre étend sa peau émaillée, vêtement assez large pour couvrir une fée. Alors je teindrai ses yeux avec le suc de cette fleur, et je l'obséderai d'odieuses fantaisies. Prends aussi de ce suc, et cherche dans le hallier. Une charmante dame d'Athènes est amoureuse d'un jeune dédaigneux: mouille les yeux de celui-ci, mais veille à ce que le premier être qu'il apercevra soit cette dame. Tu reconnaîtras l'homme à son costume athénien. Fais cela avec soin, de manière qu'il devienne plus épris d'elle qu'elle n'est éprise de lui. Et viens me rejoindre sans faute avant le premier chant du coq. Obéron Le Songe d'une nuit d'été.

This popular series of readers has now been completely revised and updated, using a new syllabus and new word structure lists. Readability has been ensured by means of specially designed computer software. Words that are above level but essential to the story are explained within the text, illustrated, and then reused for maximum reinforcement.

This popular series of readers has now been completely revised and updated, using a new syllabus and new word structure lists. Readability has been ensured by means of specially designed computer software. Words that are above level but essential to the story are explained within the text, illustrated, and then reused for maximum reinforcement.

This popular series of readers has now been completely revised and updated, using a new syllabus and new word structure lists. Readability has been ensured by means of specially designed computer software. Words that are above level but essential to the story are explained within the text, illustrated, and then reused for maximum reinforcement.

Полный, неадаптированный текст произведения. The Wordsworth Classics' Shakespeare 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. Hamlet is not only one of Shakespeare's greatest plays but also the most fascinatingly problematic tragedy in world literature. First performed around 1600, this is a gripping and exuberant drama of revenge, rich in contrasts and conflicts. Its violence alternates with introspection, its melancholy with humor, and its subtlety with spectacle. The Prince, Hamlet himself, is depicted as a complex, divided, introspective character. His reflections on death, morality and the very status of human beings make him 'the first modern man'.

Shakespeare's Macbeth is one of the greatest tragic dramas the world has known. Macbeth himself, a brave warrior, is fatally impelled by supernatural forces, by his proud wife, and by his own burgeoning ambition. As he embarks on his murderous course to gain and retain the crown of Scotland, we see the appalling emotional and psychological effects on both Lady Macbeth and himself. The cruel ironies of their destiny are conveyed in poetry of unsurpassed power. In the theatre, this tragedy remains perennially engrossing. This volume is part of the new Wordsworth Classics Shakespeare Series, in which each text has been freshly edited by Professor Cedric Watts.

A complete and annotated edition of Shakespeare's non-dramatic verse, including the sonnets, Venus and Adonis and The Rape of Lucrece.

Over 150 exquisite poems deal with love, friendship, the tyranny of time, beauty's evanescence, death and other themes in language unsurpassed in passion, precision, originality and beauty. This inexpensive Dover edition enables any lover of poetry or fine literature to have this remarkable verse in his or her library. Includes glossary of archaic terms.

King John had a distinguished life on the eighteenth and nineteenth-century stage, and this edition presents the fullest account of its stage history. The play's political importance, its rich and varied language, and its skillful design suggest that King John deserves a high place among Shakespeare's historical tragedies. The textual analysis includes examination of several disputed emendations to the text. In the appendix, Beaurline surveys the arguments about the dating of Shakespeare's King John and the anonymous Troublesome Reign of King John, presenting new evidence for the possibility that Shakespeare's play was written first.

Henry VIII was one of Shakespeare's most popular plays in the eighteenth and nineteenth centuries when great actors took the roles of Queen Katherine and Cardinal Wolsey, and elaborate pageantry was much extended. It has not been staged so frequently in the twentieth century, but a number of important recent productions have revealed the theatrical potential of a more complete text. Professor Margeson considers and illustrates the stage history of the play, and gives a balanced account of the authorship controversy from the mid-nineteenth century, when John Fletcher's name was first put forward as a collaborator, to recent scholarship, which has not yet reached a consensus. The Introduction considers the political and religious background of the play, its pageant-like structure and visual effects, and its varied ironies. The commentary is detailed but concise, explaining difficult passages and contemporary references, and suggesting how the play might have been staged in an Elizabethan theatre, or might still be staged for a modern audience.

The times have forced changes in the way we look at Richard II more than any other of Shakespeare's plays. What to his contemporaries was a balanced dramatisation of the central political and constitutional issue of the time, how to cope with an unjust ruler, has in the last century or so been translated into the poetic fall of a tragic hero.