Bücher von William Shakespeare

This comprehensive edition of King Richard III offers all the features associated with the Arden Shakespeare. Richard is one of Shakespeare's great villains and the play that bears his name is one of his most popular in performance and in classrooms.

Controversial and sexually charged, The Taming of the Shrew is possibly William Shakespeare's first play, and certainly among the most performed. Petruchio's courtship of the unwilling 'shrew' Katherina poses the question: is it an examination of brute male domination or a passionate love story with a powerful moral message? To read it is to gain unique insight into a portrait of a marriage as created by a true master. This Macmillan Collector's Library edition is illustrated throughout by renowned artist Sir John Gilbert (1817-1897), and includes an introduction by Ned Halley.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.

In Julius Caesar, William Shakespeare uses the most notorious murder in classical history to tell a tragic tale of friendship, ambition and betrayal. As the greatest figures of the Roman Republic are swept along on the tide of a terrifying conspiracy, a touchingly human story is revealed in some of the most beautiful poetry ever written.This Macmillan Collector's library edition is illustrated throughout by renowned artist Sir John Gilbert (1817-1897), and features an introduction by Ned Halley.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.

Gorgeous, strange and magical, A Midsummer Night's Dream is perhaps the best loved of Shakespeare's plays. A young woman flees Athens with her lover, only to be pursued by her would-be husband and her best friend. Unwittingly, all four find themselves in an enchanted forest where fairies and sprites soon take an interest in human affairs, dispensing love potions and casting mischievous spells. In this dazzling comedy, confusion ends in harmony, as love is transformed, misplaced, and - ultimately - restored.This Macmillan Collector's Library edition is illustrated throughout by renowned artist Sir John Gilbert (1817-1897), and includes an introduction by author Ned Halley.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.

A young prince meets with his father's ghost, who alleges that his own brother, now married to his widow, murdered him. The prince devises a scheme to test the truth of the ghost's accusation, feigning wild madness while plotting a brutal revenge until his apparent insanity begins to wreak havoc on innocent and guilty alike. Hamlet's combination of violence, introspection, dark humour and rich language is intoxicating. It remains the world's most widely studied and performed play, and is a cornerstone of world literature. 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 New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition retains Giorgio Melchiori's text of Shakespeare's The Second Part of King Henry IV. Melchiori argues that the play forms an unplanned sequel to the First Part, itself a 'remake' of an old, non-Shakespearean play. In the Second Part, Shakespeare deliberately exploits Falstaff's popular appeal and the resulting rich humour adds a comic dimension to the play, rendering it a unique blend of history, morality play and comedy. Among modern editions, Melchiori's is the one most firmly based on the quarto. This second edition includes a new section by Adam Hansen on recent stage, film and critical interpretations.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of The First Part of King Henry IV offers a theatrical perspective on the origins of Shakespeare's play and the history of its interpretation. In their introduction the editors, Herbert and Judith Weil, clarify the play's de-centred dramatic structure and call attention to the effects of civil war on a broad range of relationships. Falstaff's unpredictable vitality is also explored, together with such important contemporaneous values as honour, friendship, festivity and reformation. Lexical glosses make the rich wordplay accessible, while the notes provide a thorough commentary on Shakespeare's transformation of his sources. A supplementary section by Katharine Craik focuses on important modern interpretations.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of The Sonnets, Stephen Orgel has written a new introduction to Shakespeare's best-loved and most widely read poems. In a series of focused readings he probes the sonnets' sexual and temperamental ambiguity as well as their complex textual history, and explores the difficulties editors face when modernising the spelling, punctuation and layout of the 1609 quarto. Orgel reminds us that the order in which the sonnets were composed bears no relation to the order in which they appear in the quarto and he warns against reading them biographically. This edition retains the text prepared by G. Blakemore Evans, together with his notes and commentary.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of Titus Andronicus Sue Hall-Smith has written a new section on recent scholarship and important contemporary performances of the play. The edition retains the text prepared by Alan Hughes, based on the first quarto and supplemented by crucial additions and stage directions from the Folio. In the introduction, Hughes contradicts the historically popular view that Titus Andronicus is a poor play of dubious authorship. Joining the growing ranks of critics who take the play seriously, Hughes applauds its thematic unity and grim humour, and demonstrates that it is the work of a brilliant stage craftsman, confident in his mastery of space, movement and verse.

This second edition of Shakespeare's narrative poems contains an introductory section on recent critical interpretations. Fully annotated and introduced, it includes all the poems which can be confidently assigned to Shakespeare, excluding the Sonnets: Venus and Adonis, The Rape of Lucrece, The Phoenix and the Turtle, The Passionate Pilgrim and A Lover's Complaint. An updated reading list completes the edition.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of Measure for Measure Angela Stock has written a new introductory section that takes account of recent scholarly criticism and important contemporary productions on stage and film. The edition retains the text prepared by Brian Gibbons together with his comprehensive introduction, in which he shows how the play's critical reception and stage history varies from one period to the next according to the prevailing social, moral and religious issues of the day. Gibbons explores the thrilling experience of watching the play in performance, with its shocking reversals and surprises, great tragic poetry and exuberant comic prose. An updated reading list completes the edition.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of Antony and Cleopatra, David Bevington has included in his introductory section a thorough consideration of recent critical and stage interpretations, demonstrating how the theatrical design and imagination of this play make it one of Shakespeare's most remarkable tragedies. The edition is attentive throughout to the play as theatre: a detailed, illustrated account of the stage history is followed, in the commentary, by discussion of staging options offered by the text. The commentary is especially full and helpful, untangling many obscure words and phrases, illuminating sexual puns, and alerting the reader to Shakespeare's shaping of his source material in Plutarch's Lives.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of King Henry V, Shakespeare's most celebrated war play, Andrew Gurr has added a new section to his introduction in which he considers recent criticism and important contemporary productions of the play. Concentrating in particular on 'secret' versus 'official' readings of the work, he analyses Shakespeare's double vision of Henry as both military hero and self-seeking individual, and shows how the patriotic declarations of the Chorus are contradicted by the play's dramatic action. Controversial sequences are placed in the context of Elizabethan thought while the exceptional variety of language and dialect in the text is also studied. An updated reading list completes the edition.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of King Lear, Jay L. Halio has added a new introductory section that focuses on recent developments in scholarly criticism as well as on contemporary productions of the play. The edition features a comprehensive account of Shakespeare's sources, including literary, political and folkloric influences on the work. Halio's text is edited from the Folio and he explains the differences between the quarto and Folio versions, alerting the reader to the rival charms of the quarto by sampling parallel passages in the Introduction and by including in an Appendix annotated passages that are unique to the quarto. An updated reading list completes the edition.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This third edition of Julius Caesar retains the text prepared by Marvin Spevak for the 1988 first edition and features a completely new introduction by Jeremy Lopez. Discussing in detail the play's strange and innovative form, Lopez explores the interpretive challenges Julius Caesar has presented to audiences, scholars and theatre companies from Shakespeare's time to our own. The textual commentary has been revised and updated with an eye, and ear, to the contemporary student reader, and the list of further readings has been updated to reflect the latest developments in scholarly criticism. The edition concludes with an Appendix containing relevant excerpts from Shakespeare's main source in Plutarch.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Hamlet, edited by Philip Edwards, brings readers, playgoers and directors into the closest possible contact with Shakespeare's most famous and perplexing play. In the introduction, Edwards explores the possibility that Shakespeare made important alterations to Hamlet as it neared production, creating differences between the two early texts, quarto and folio. Edwards concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy that the play has provoked, and offers a way forward that enables us to recognise Hamlet's full tragic energy. In a new supplementary section, Robert Hapgood discusses recent stage, film and critical interpretations of the play.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of The Merchant of Venice retains the text and Introduction prepared by M. M. Mahood and features a new introductory section by Charles Edelman. Where Mahood focuses in her Introduction on the expectations of the play's first audience and on our modern experience of seeing and hearing the drama performed, Edelman explores the play's sexual politics. He also foregrounds recent scholarship on the position of Jews in Shakespeare's time and surveys the international scope and diversity of theatrical interpretations of the text in the 1980s and 1990s. He pays particular attention to the ways in which directors and actors tackle the troubling figure of Shylock.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Much Ado About Nothing retains the text and introduction prepared by F. H. Mares and features a new section by Angela Stock on recent film, stage and critical interpretations of the play. Mares pays special attention in the Introduction to the range of theatrical interpretations that have flourished since the first documented production of the play in the early seventeenth century. In particular, he explores notable performances of the roles of Benedick and Beatrice, from David Garrick to John Gielgud, and Peggy Ashcroft to Judi Dench. The commentary explicates the many sexual jokes in the text that are obscured by the complexity of Elizabethan English.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This is the third New Cambridge edition of The Taming of the Shrew, one of Shakespeare's most popular yet controversial plays. Ann Thompson considers its reception in the light of the hostility and embarrassment that the play often arouses, taking account of both scholarly defences and modern feminist criticism. For this version the editor pays lively attention to the problematic nature of debates about the play and its reception in the twenty-first century. She discusses recent editions and textual, performance and critical studies.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. King Edward III is a major addition to the Shakespearean canon, and is published here for the first time in an authoritative edition of Shakespeare's works. Its editor, Giorgio Melchiori, claims that Shakespeare is not the play's sole author but that he wrote a significant part of the text. The extent of his contribution is discussed in detail. Melchiori also explores the play's historical background and genesis both in the context of contemporary theatrical practice and in relation to Shakespeare's own early cycle of history plays. An extensive Appendix on the use of sources explains the stages in which King Edward III was composed.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Coriolanus, edited by Lee Bliss, provides a thorough reconsideration of what was probably Shakespeare's last tragedy. In the introduction, Bliss situates the play within its contemporary social and political contexts and pays particular attention to Shakespeare's manipulation of his primary source in Plutarch's Lives. The edition is alert 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 accounts for recent theatrical productions as well as scholarly criticism of the last decade, with particular emphasis on gender and politics.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries, textual notes on the plays and poems and an extensive Introduction. Shakespeare's plays about the reign of King Henry VI were written at the beginning of his career. A recent series of outstanding productions has demonstrated their theatrical vitality, and their sceptical questioning of Elizabethan orthodoxies has been understood through revisionist readings of the history of Shakespeare's own times. In The Third Part of King Henry VI, Shakespeare extends his essay on monarchical politics by contrasting two kings, the good but ineffective Henry VI with his rival, the sensual and victorious Edward IV. He also shows the perils of aristocratic factionalism in a series of scenes that display the grievous wounds caused by the Wars of the Roses.

Troilus and Cressida, long considered one of Shakespeare's most problematic plays, is both difficult and fascinating. Largely neglected during the eighteenth and nineteenth centuries it has recently proved popular and rewarding on the stage as well as in the study. This edition questions certain received ideas about the play's text, especially the relationship between quarto and folio and offers several new readings of old problems. Dawson's textual choices are often surprising but at the same time carefully grounded. He views the play from a performance perspective - both in the commentary as well as in the detailed section on stage history in the introduction. The introduction also covers the cultural context in which the play was written, probes the controversy about its early performance and provides extensive analysis of character, language, genre and contemporary significance.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries, textual notes on the plays and poems and an extensive Introduction. Shakespeare's plays about the reign of King Henry VI were written at the beginning of his career. A recent series of outstanding productions has demonstrated their theatrical vitality, and their sceptical questioning of Elizabethan orthodoxies has been understood through revisionist readings of the history of Shakespeare's own times. The Wars of the Roses haunted the Elizabethans. Among many accounts, Shakespeare's was the most ambitious, dramatically innovative and radical. The Second Part of King Henry VI is concerned with the nature of history, the role of conscience and the relation between law and equity. It contains a complex reading of a popular uprising, led by Jack Cade.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Edited and introduced by Martin Butler, this first New Cambridge Shakespeare edition of Cymbeline takes full account of the critical and historical scholarship produced in the late twentieth century. It foregrounds the romance, tragicomedy and Jacobean stagecraft that shape the play and offers a refreshingly unsentimental reading of the heroine, Innogen. Butler pays greater attention than his predecessors to the politics of 1610, especially to questions of British union and nationhood. He also offers a lively account of Cymbeline's stage history from 1610 to the present day. The text has been edited from the 1623 Folio and features a detailed commentary on its linguistic and historical features.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Edited and introduced by John Margeson, King Henry VIII appears here for the first time in a New Cambridge Shakespeare edition. In his introduction Margeson explores the political and religious background to the play, its pageant-like structure and visual effects, and its varied ironies. He also discusses its stage history, from the famous occasion in 1613 when the Globe theatre burned down during a performance of King Henry VIII to important theatrical productions of the late twentieth century. A balanced account is provided of the authorship controversy that arose in the nineteenth century, when John Fletcher's name was first put forward as a likely collaborator.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Shakespeare's plays about the reign of King Henry VI were written at the beginning of his career. A recent series of outstanding productions has demonstrated their theatrical vitality, and their sceptical questioning of Elizabethan orthodoxies has been understood through revisionist readings of the history of Shakespeare's own times. The First Part of King Henry VI, which gives us Shakespeare's portrait of Joan of Arc, is revealed as a successful venture in its own exploratory style, and as a necessary account of key events in the Hundred Years War without which the Wars of the Roses, anatomised in the following two plays, cannot be understood.

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.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Edited and introduced by L. A. Beaurline, the New Cambridge Shakespeare edition of King John offers the most complete account to date of the play's stage history, with accompanying illustrations to demonstrate its dramatic potential. Although King John fell out of fashion by the end of the nineteenth century, Beaurline shows how its political importance, rich and varied language, and skilful design suggest that it should occupy a prominent position among Shakespeare's historical tragedies. In the Appendix, Beaurline surveys the arguments about the dating of the play and the anonymous Troublesome Reign of King John, and presents new evidence to support the view that Shakespeare's play was written first.