Molecular Biology of the Cell is one of the best surveys available on the status of current information about cellular biology. The authors skillfully accomplish the difficult task of combining detail with readability while conveying the excitement of this dynamic field. Clear, concise, and colorful illustrations assist in this task and the book is a fine collection of splendidly dramatic photos of "molecular biology of the cell" in action. They covered an enormous amount of material with a style that is simple enough for a college-level biology student to follow with enough detail and references to be of use to an experienced research scientist. Bravo for a job well-done!

This is latest update for the most revered text in the field of cell and molecular biology. I used this book as an undergraduate even though this was not the required text for the course. I still turn to it often as a graduate student. As someone who has read the book cover to cover I can vouch for its extensive coverage of the most important concepts and the abandance of information on the most frequntly encountered concepts. It is a must have for any serious student of cell, molecular and developmental biology. I recommend that you buy this book in addition to any required texts for your course. The book is so comprehensive that even topics that gained prominance in 2002 such as RNA interference are wonderfully presented. Even if you are new to this subject area this book if properly used can increase you understanding immensely of even the most difficult of concepts. You would never regret buying this.

I've just finished reading this book and i feel this new edition is even better than it's predecessor, which is already not far from perfect. This well-known textbook is a comprehensive overview of what we have known about molecular cell biology, and what's more important is - every material here are treated very clearly and carefully, and this is where this book really shines - I even believe a layman with some elementary knowledge about chemistry and biology could not only read this book from cover to cover but also actually *understand* them.

Both the material and the references are quite up-to-date (not surprising), so don't hesitate to buy if you have the third edition.

I give it five stars because:
1) the authority is doubtless;
2) it's comprehensive, wide in scope;
3) the text is written in plain english, thus won't confuse students in the non-english speaking countries;
4) the figures are *really* excellent, IMHO better than any others that I have seen in other books;
5) the index is nice;

and some minor flaws:
The typesetting of "List of Topics" is somewhat... odd. There are no page numbers associate with the individual topics in that list too. Also I think the reference sections could be better.

So... let it be 4.5 stars.

I have used Essential Cell Biology for my one semester introductory cell biology and found it to be superb!! It's perfect for a one semester undergraduate course, as well as a terrific overview for laymen with a strong interest in how and why cells work. For introductory cell biology courses, nothing on the market comes even close to this text. Like its larger predecessor, Molecular Biology of the Cell, the text is clearly written, informative, and downright interesting, a rare commodity in textbook writing. Once again, James Watson's superb writing style shows through in this book. The numerous illustrations are a superb complement to the text, explaining and reinforcing the concepts presented in the text. In addition to its use as a text for one semester courses, I would also recommend this to interested laypersons who have an interest in how cells work at the molecular level and are not satisfied with the few popular-level books on the topic. Here they will find a gold mine of insights into the marvels of cell structure and function, all of it clearly written and accessable to anyone with a good high school or mediocre college background in basic chemistry and biology. The only drawbacks of this book is the limited suggestions for further readings and the sparse information on the techniques used to study cells. Otherwise, it is a terrific, attractivly presented, superbly written and illustrated book. It is a real asset to all who have an interest in the cell, except for publishers of competing texts, who are likely to lose most of their markets to this excellent book.

I recently bought the book "Essential Cell Biology: An Introduction to the Molecular Biology of the Cell" and studied it from cover to cover, including all the questions and answers. It was one of the greatest and most well-organized textbooks I have ever encountered. The language was very fluent, and especially some of the example questions were quite entertaining and witty. I haven't had any education neither in biology nor in molecular biology nor in biochemistry (my major is chemical engineering), still I didn't have any difficulties in understanding all the concepts presented in the book. The knowledge I gained from the book was a great help to me during the "GRE Subject Test in Biochemistry, Cell and Molecular Biology" which I took just yesterday. I am applying to graduate schools in the US for a Ph.D. degree in Molecular Biology or Bioengineering, and the test I took yesterday was crucial for my applications, in which (thanks to Essential Cell Biology) I believe I did quite well for a person without a background in the subject except a two-months-long self-study. This is a great and concise introductory textbook to the molecular biology of the cell, and I highly recommend it to anyone who has an interest in this subject with no or little background.

A gem of a book. It puts at the hands of lay people the wonders of molecular biology. The best way of spending $65 I can think of.

The text is a most refined product distilled by an all-star team of leading scientists. Oriented towards the lay person or the would be specialist, it is simple, unpretentious, sometimes even funny, but always powerfully explanatory. The diagrams are exceptionally clear (a must for explaining such complex subjects) and the photographs are astounding. Love for their subject and passion for teaching are present all along. And mysticism is always around the corner...

If you have ever wondered things like "What are exactly chromosomes?", "How do exactly enzymes work in the cell?", or "How the hell does all this machinery work at a purely chemical level ?" and you are not quite satisfied with popular science books, this one is for you. It will answer these questions and much, much more.

An enjoyable, deeply satisfying tour the force through the molecular level of all living organisms.

Don't miss it!

Imagine that your father, King Philip of Macidonia was just murdered by a former body guard, and that you are forced to become king at the young age of 22. Shortly after you become king some of your cities rebel against your rule, you have no military experience, and yet that is your only option.
Do you think that ever happened to anyone? It happened to Alexander of Macedonia. When the cities revolted Alexander went in and completely destroyed them, then he sold the entire population ( selling women and children as slaves was highly irregular) as slaves to be a warning to other cities that might revolt( most of the cities probably thought that Alexander was a weak king because he was so young). I think that Peter Chrisp gives a wonderful account of Alexander's life in his book, Alexander the Great.
Alexander had many exploits along his many journeys, and there is a story for each and every one. I will tell you one of those tales; it is about The Gordian Knot. In the city of Gordium there was a temple, inside this temple was a very old cart. Its yoke was tied with a knot called The Gordian Knot. The Gordian Knot was very complex, in fact it was so complex that you could not see either loose end of the rope. Many people had tried to untie the knot, but no one could. The people of the city thought that the first person to untie the knot would rule the world. On his way east Alexander stopped at Gordium and tried to untie the knot. After wrestling with the knot for a while he said, "It makes no difference how it is untied"-- and with that he took out his dagger and cut right through it. In case you did not know Alexander conquered the entire world that was known at the time and more! So perhaps the Gordian Prophecy was true.
In this book you will read about Alexander of Macedonia (who later earns the title: Alexander the Great) and his many battles, his battle tactics (most of which are incredible), his military genius, and plus have a peek at what life was like for one of Alexander's soldiers.
If you enjoy reading historical nonfiction, and also enjoy reading about the ancient Greeks then you will love Alexander the Great by Peter Chrisp.

Though this picture book is primarily aimed at young adults, older readers will enjoy it as well. It's wonderfully illustrated and very informative, giving an overview of the conquest of Alexander as well as the ancient Greek and Persian cultures. The full-color illustrations really elucidate the subject matter. All in all, a wonderful book, and one I am happy to have in my library.

It IS about time General Stewart gets some press. As stated in this wonderful book there are Colonels in Lee's army that are better known than this man who was one of the ranking generals in the Confederate army. At Franklin Stewart helped lead a far larger and more deadly charge than the famous July 4th, 1863 charge at Gettysburg, yet very few people know of him. As the campaigns of the Army of Tennessee begin to gain further study maybe this will change. This book should help a great deal.

From his birth in Rogersville, Tennessee until his death in St. Louis Stewart always remained at heart a Tennessean and his dedication to his state led him into all of the major battles of the Army of Tennessee. Nobody who studies that army can do so without a study of "Old Straight". This book does a wonderful job of exploring the life, war experences,and post-war work of this deeply religious man.

There are only two small problems with this work. First, Mr. Elliott sometimes goes a little far in defending Stewart. The picture he paints of the political strife in the Army of Tennessee is very clear but on occasion he goes a little out of his way to point out how little Stewart was involved in these political battles. It might be more to Stewart's credit if he had been a little more involved in trying to remove General Bragg before more damage could be done. The other problem is one faced by many writers dealing with war. Most readers get quickly lost as a writer begins to relate how this regiment was placed here and that regiment was placed there. Worse yet is the practice of describing an action in detail with terms like "Jones attacked on Smith's left which was countered by moving Brown......". Soon the reader who often has never heard of these regimental or division commanders becomes confused and is not sure who is fighting who or which side anybody is on. Can it be avoided? I don't know but it does weaken this fine work somewhat.

Still, anyone who hopes to understand the "other" major Confederate army must read this book. Mr. Elliott has made a major contribution to the study of the Army of Tennessee and I thank him.

Sam Elliott has brought to life an overlooked general from the Confederacy. As the highest ranking officer to serve the South from Tennessee, General Alexander P. Stewart was one of the few and lucky individuals to survive the entire western campaign. Soldier of Tennessee gives the reader a wonderful cronological look at the war in Tennessee and intoduces us to one of the most respected men in the Southern army. Not only does Elliott present a thorough description of most of the western campaigns, but he is also able to capture the human struggle of a battered Confederate army. This is a must for any Civil War enthusiast.

For anyone who has ever wanted to know about Mozart, but does not want to dig through massive tomes, or the intracacies of counterpoint, Peter Gay gives a thorough linear analysis of Mozart, his life, and times. Describing the growth of a musical genius, with commentaries on major works, Gay places Mozart firmly in his historic period. We see the role of the musician as hired tradesman and Mozart trying to equate his genius with social standing, only to play secaond fiddle to the second rate. An excellent and enjoyable window into a complex mind and a brief but indelible life.

Peter Gay's brief biography of Mozart is the third of the new Penguin Lives which I have read, but only the first to offer a reasonably complete portrait. (The others were "Mao Zedong" by Jonathan Spence, which seemed disappointingly incomplete, and "Woodrow Wilson" by Louis Auchincloss, which seemed terribly superficial.) As an eminent cultural historian of Europe since the Enlightenment and a native of German-speaking Europe himself, Gay is more than qualified to write a superior life story of Mozart and certainly rises to the occasion with a captivating style that made reading this book a pleasure.

For a book that is only 163 pages long, exclusive of endnotes and bibliographic essay, this volume offers an unusually full picture. It depicts Mozart as man and musician, while placing him and his art in the context of his times. Gay delves into Mozart's complex relationship with his autocratic father, describing his evolution from docile Wunderkind to assertive mature artist. He also explores Mozart's unusual personality, including his often juvenile sense of humor, his devoted commitment to his wife, his tendency to constantly live beyond his means and the resulting sometimes obsequious dependency on his patrons, and his interactions with contemporary composers, particularly Johann Christoph Bach and Franz Josef Haydn. Gay is especially good at explaining Mozart's major contributions to the development of classical music in terms that even someone who lacks a technical understanding of music can fathom, showing how he contributed to chamber music, the symphony, and opera. And he briefly points out what is distinctive about a number of the composers' major works.

In short, this is a book that offers all the fun of "Amadeus," but a far more satisfying portrayal of Mozart and a fuller explication of why he is an icon of Western civilization. For readers who lack much knowledge about the composer, Gay does an artful job of tantalizing them into wanting to learn more, then pointing the way with a helpful and thorough bibliographical essay.

Noted cultural historian and Freud scholar Gay, author of the autobiographical My German Question (LJ 8/98), here presents an intriguing psychological exploration of the life and music of Wolfgang Amadeus Mozart. Using copious excerpts from Mozart's family's letters and drawing on a variety of secondary sources, Gay constructs a portrait of a developing genius who appears obsessed with the scatological and financial aspects of his existence. Gay traces the artist's maturation in his relations with his father and other authority figures while describing the culminating musical masterpieces of Mozart's later years. Gay is an eloquent advocate for Mozart's place in the very highest echelon of composers. He performs a valuable service in debunking several myths, and his exemplary bibliographic essay directs readers to other relevant titles. Recommended as an illuminating guide to Mozart's psyche; seek elsewhere for musical analysis or straightforward biography.

In contrast to some of the other editions of the complete works of Shakespeare, this book really is value for money. All plays (and poems, etcetera) are printed in a lavishly, pleasing way, very easy to the eye (one of the biggest drawbacks of some editions is that they use a very small font to keep the number of pages to a minimum). As others have commented, not much can and should be commented on the works themselves, they have stood the test of time, and the (normal) spelling that is used in this edition makes each reading an enjoyable experience. All the plays are given a brief (and somewhat succinct) introduction, which is, at best, okay. The strange things, in this book, are, for example, the order of the plays, the way King Lear is printed in two versions (that differ only in small details), and the inclusion of fragments that are attributed to Shakespeare (a bit controversial to say the least). Still, if you want to buy a good, thorough, and well-researched edition of the complete works of Shakespeare, you will not go far wrong with this book.

Pretty much any edition of Shakespeare deserves 5 stars for content. I think the question most people must have is "Which edition?"

I purchased "The Complete Pelican Shakespeare" because I wanted a relatively portable, high-quality book featuring text that benefits from modern scholarship (including brief notes and glossary). I wanted an edition to read and to treasure.

I should say that I didn't need extensive commentary with the text (as in the Arden paperbacks). That bulks it up considerably, can be had in other places, and can be left behind once one has read a play once or twice.

While I'm no Shakespearean scholar myself, this edition seems to meet the editorial criteria quite well. The text appears to benefit from modern, authoritative editorship, the introductions are brief but useful, and archaic terms and phrases are defined on the page where they occur.

The binding is high quality, as is the paper.

This is the most portable of the modern hard-cover editions I've found, with the possible exception of the Oxford edition, which is thicker, but smaller in the other two dimensions. I decided against the Oxford because the binding is of lesser quality and Oxford has a relatively idiosyncratic editorial policy with which I don't entirely agree.

Sadly, this is still a pretty big book, just small enough for a good-sized person to hold up and read in bed, and too much for an airplane or trip to the park. I wish someone would make a truly portable version! There is no reason that the entire thing couldn't be compressed into the space of a smallish bible (for those with the eyes for it!).

This weighty tome brings together authoritative versions of the complete works of Shakespeare. The excellent and informative introduction provides the historical context for the plays, the author and the folios. It also explains well how the plays tended to evolve with re-writes and performances. I have not read all of the plays and sonnets, but of the Shakespeare works Henry V and Hamlet, for example, provide high drama with stories that are compelling and language that is unique, beautiful and powerful. While the Taming of the Shrew and a Midsummers Night Dream provide humor, and other plays provide tragedy and pathos. A thousand phrases from these great plays and sonnets have probably carried into modern usuage. Shakespeare is best enjoyed first as a play by fine actors, such as those of the Royal Shakespeare company, that can give life to the often archaic and unfamiliar words, phrases and language constructs that come late 1500s. Once you have been captivated by a good live performance, reading the text becomes a joy and the strange language an exquisit pleasure. Some movies based on Shakespeare are more interesting than others (Kenneth Branagh has been quite successful, while Mel Gibson and Sir Lawrence Olivier were less so to my mind) but a live theater performance is far better and the written word is probably a close second. If you are interested in Shakespeare then this is a wonderful book - the only one you need really. If you have children then you really should get this and encourage them to read it. I have started reading selected passages with my 5 year old son and he loves it, he is absolutely enthralled with the language -- be bold, try it.

this is a comedy only in the sense that the play ends well - ie, noone dies, most everyone is happy. else, there's little humor in this comedy, save for the knave, lucio. like others here have pointed out, this is actually a pretty serious play that takes a pretty hard look at human weakness, particularly lust. there are some fine, impassioned speeches by claudio and his sister, who pleads for his life. worth a read. but don't expect any laughs.

One of Shakespeare's lesser read and lesser performed plays, Measure for Measure profoundly explores the themes of justice and mercy. This exploration compensates for the defects of the play: the unbelievable resolution, the Duke's refusal to interfere early on (which causes pain to the characters), the inconsistency in the application of morality (Isabella considers it wrong for the betrothed Claudio and Juliet to have sex but justifies--and even helps to arrange--it between Angelo and Mariana), and the unexpected suddenness of the Duke's proposal to Isabella. The play seriously weighs the concerns of justice and mercy, and although it ultimately favors mercy, it recognizes the complexity of the issue. How can one practice mercy and yet restrain vice? How can one "hate the sin" yet "love the sinner?" Mercy seems to be the necessary choice over justice because man is too fallen to bear the brunt of justice. "Judge not lest ye be judged. For with what measure you mete," said Christ, "it shall be measured unto you." If you hold a high standard for others (as does Angelo for Claudio) and yet fall short of it yourself, you will be judged by the same standard. Since we seem destined to fall short of righteousness, it is best to practice forgiveness, so that we too may be judged lightly. And yet there is a concern that such practice of forgiveness will lead to a laxity that permits vice to flourish (which is the reason the Duke leaves Angelo in charge in the first place). Though mercy and forgiveness are favored, the arguments in favor of justice are not simply dismissed.

Quote: "Condemn the fault, and not the actor of it?
Why, every fault's condemned ere it be done.
Mine were the very cipher of a function,
To fine the faults whose fine stands in record,
And let go by the actor." (II.ii.38-42)

Measure for Measure is seldom read, and not often performed in the United States. Why? Although many of Shakespeare's plays deal bluntly with sexual issues, Measure for Measure does so in an unusually ugly and disgusting way for Shakespeare. This play is probably best suited for adults, as a result.

I see Measure for Measure as closest to The Merchant of Venice in its themes. Of the two plays, I prefer Measure for Measure for its unremitting look at the arbitrariness of laws, public hypocrisy and private venality, support for virtue, and encouragement of tempering public justice with common sense and mercy.

The play opens with Duke Vincentio turning over his authority to his deputy, Angelo. But while the duke says he is leaving for Poland, he in fact remains in Vienna posing as a friar. Angelo begins meting out justice according to the letter of the law. His first act is to condemn Claudio to death for impregnating Juliet. The two are willing to marry, but Angelo is not interested in finding a solution. In despair, Claudio gets word to his sister, the beautiful Isabella, that he is to be executed and prays that she will beg for mercy. Despite knowing that Isabella is a virgin novice who is about to take her vows, Angelo cruelly offers to release Claudio of Isabella will make herself sexually available to Angelo. The Duke works his influence behind the scenes to help create justice.

Although this play is a "comedy" in Shakespearean terms, the tension throughout is much more like a tragedy. In fact, there are powerful scenes where Shakespeare draws on foolish servants of the law to make his points clear. These serve a similar role of lessening the darkness to that of the gravediggers in Hamlet.

One of the things I like best about Measure for Measure is that the resolution is kept hidden better than in most of the comedies. As a result, the heavy and rising tension is only relieved right at the end. The relief you will feel at the end of act five will be very great, if you are like me.

After you read this play, I suggest that you compare Isabella and Portia. Why did Shakespeare choose two such strong women to be placed at the center of establishing justice? Could it have anything to do with wanting to establish the rightness of the heart? If you think so, reflect that both Isabella and Portia are tough in demanding that what is right be done. After you finish thinking about those two characters, you may also enjoy comparing King Lear and Claudio. What was their fault? What was their salvation? Why? What point is Shakespeare making? Finally, think about Angelo. Is he the norm or the exception in society? What makes someone act like Angelo does here? What is a person naturally going to do in his situation?

Look for fairness in all that you say and do!

'As you like it' is one of those Shakespearean plays that is considered 'great' by critics, but never really found true popular acclaim, perhaps due to the absence of charismatic characters (the romantic hero is particularly wet) or compelling dilemmas.

It shares many features with the great comedies - the notion of the forest as a magic or transformative space away from tyrannical society ('A Midsummer night's dream'); the theme of unrequited love and gender switching from 'Twelfth night'; the exiled Duke and his playful daughter from 'The Tempest'. But these comparisons only point to 'AYLI''s comparative failure (as a reading experience anyway) - it lacks the magical sense of play of the first; the yearning melancholy of the second; or the elegiac complexity of the third.

It starts off brilliantly with a first act dominated by tyrants: an heir who neglects his younger brother, and a Duke who resents the popularity of his exiled brother's daughter (Rosalind). there is an eccentric wrestling sequence in which a callow youth (Orlando) overthrows a giant. Then the good characters are exiled to Arden searching for relatives and loved ones.

Theoretically, this should be good fun, and you can see why post-modernist critics enjoy it, with its courtiers arriving to civilise the forest in the language of contemporary explorers, and the gender fluidity and role-play; but, in truth, plot is minimal, with tiresomely pedantic 'wit' to the fore, especially when the melancholy scholar-courtier Jacques and Fool Touchstone are around, with the latter's travesties of classical learning presumably hilarious if you're an expert on Theocritus and the like.

As an English pastoral, 'AYLI' doesn't approach Sidney's 'Arcadia' - maybe it soars on stage. (Latham's Arden edition is as frustrating as ever, with scholarly cavilling creating a stumbling read, and an introduction which characteristically neuters everything that makes Shakespeare so exciting and challenging)

Anyone with a working knowledge of Shakespeare's plays knows that As You Like It is a light, airy comedy. It is clearly not one of Shakespeare's greatest plays. As You Like It is more obscure than famous. Even amongst the comedies it comes nowhere close to the popularity of plays such as A Midsummer Night's Dream, The Tempest, or Twelfth Night. That said, it is a treasure in its own right. This is so, if for nothing else, because it contains one of the greatest pictures of a woman to be found in Shakespeare's works, excluding the Sonnets.

Ah, sweet Rosalind. In her are encapsulated so many ideas about the nature of woman. She is first pictured in a rather faux-Petrarchan manner. This quickly fades as an intelligent woman comes to the fore. While the intelligence remains, she is also torn by the savage winds of romantic love. Rosalind, in all her complexity and self-contradiction, is a truly modern female character.

Most of the women in Shakespeare's tragedies and historical plays are either window dressing (as in Julius Caesar) or woefully one-sided (Ophelia, Lady Macbeth). This is not the case with Rosalind. Rather than being marginalized, she is the focus of a good chunk of the play. Instead of being static and [standard], she is a complex evolving character.

When Rosalind first appears, she outwardly looks much like any other lady of the court. She is a stunning beauty. She is much praised for her virtue. Both of these elements factor in the Duke's decision to banish or [do away with] her.

Rosalind falls in love immediately upon seeing Orlando. In this way she at first seems to back up a typically courtly idea of "love at first sight." Also, she initially seems quite unattainable to Orlando. These are echoes of Petrarchan notions that proclaim love to be a painful thing. This dynamic is stood on its head following her banishment.

Rosalind begins to question the certainty of Orlando's affection. She criticizes his doggerel when she finds it nailed to a tree. Rather than wilting like some medieval flower, she puts into effect a plan. She seeks to test the validity of her pretty-boy's love. In the guise of a boy herself, she questions the deceived Orlando about his love.

Yet Rosalind is not always so assured. Her steadfastness is not cut and dried. Composed in his presence, Rosalind melts the second Orlando goes away. She starts spouting romantic drivel worthy of Judith Krantz. Even her best friend Celia seems to tire of her love talk. This hesitating, yet consuming passion is thrown into stark relief with her crystal clear dealings with the unwanted advances of the shepherdess Phebe.

Rosalind contradicts herself in taking the side of Silvius in his pursuit of Phebe. She seeks to help Silvius win the love of Phebe because of his endearing constancy. Yet the whole reason she tests Orlando is the supposed inconstancy of men's affections.

This idea of Male inconstancy has made its way down to the present day. Men are seen, in many circles, as basically incapable of fidelity. Though a contradiction to her treatment of Silvius' cause, Rosalind's knowing subscription to pessimistic views on the constancy of a man's love places her on the same playing field as many modern women.

Rosalind takes charge of her own fate. Until and even during Shakespeare's own time women largely were at the mercy of the men around them. This is satirized in Rosalind's assuming the appearance of a man. Yet she had taken charge of her life even before taking on the dress and likeness of a man. She gives her token to Orlando. She decides to go to the Forest. She makes the choice of appearing like a man to ensure her safety and the safety of Celia.

Rosalind finally finds balance and happiness when she comes to love not as a test or game, but as an equal partnership. Shakespeare is clearly critiquing the contemporary notions of love in his day. His play also condemns society's underestimation and marginalization of women. However, the Bard's main point is more profound.

As You Like It makes it clear that the world is never picture perfect, even when there are fairy-tale endings. Men and women both fail. Love is the most important thing. With love all things are possible.

"As You Like It" is bar none, one of Shakespeare's VERY best works. It is probably the most poetic of the comedies and contains perhaps as many famous quotations as any other of his plays. Rosalind is perhaps his greatest female character and this work, along with the equally (or even more) brilliant "Midsummer Night's Dream," is the best example of Shakespeare's theme of the "dream world" vs. the "real" world. This play, especially the scenes in the forest, is a celebration of language and the power of the freedom of the imagination. It consequently can be read as a criticism of the "real world," here represented by Duke Ferdinand's court. Like many of the other comedies, Shakespeare is mocking the "ideal" which many in his society would have praised. Though this play deals with some pretty dark themes (which of his plays doesn't?) it is a light-hearted and fully enjoyable read!

Readers should note that this site does not distinguish between the various editions of Shakespeare, so the reviews you read may be for audiotapes, modern translations, etc. I am reviewing the Kenneth Branaugh BBC Radio recording of Hamlet. It is adequate, which I consider high praise for this challenging play. Like Branaugh's movie a few years later, it includes the entire text of the play, which is a nice way to remind yourself of some issues you may have forgotten.

The performances are pretty good, and include Branaugh (of course) as Hamlet and Derek Jacobi as Claudius, giving us a hint of the performances they would later give in the movie. No one's performance really blew me away, although Jacobi was excellent.

Ultimately, the play loses quite a bit when transferred to audio only. There's a lot to be conveyed with stage placement, physican action, expression, etc. Somehow, listening to the play limited my imagination on those issues, preventing my from using my "mind's eye" to the fullest.

Hamlet is considered, by many scholars, the pinnacle of Shakespeare's dramas. If you haven't read it yet this this Case Studies in Contemporary Criticism edition would be a great place to begin.

The text notes that are included with the play are very helpful to understand some of the more difficult language nuances that are inevitable with any Shakespeare. The structure is well laid out and conclusive. It complements the complexity of Hamlet very well.

Of course Hamlet is one of the great paradoxes and mysteries every written. The search of finding yourself and what it is that fuels the human spirit. Hamlet can be a very confusing play because of the depth of substance. However, the critical essays that suppliment the reading make it very accessable.

Each of the critical essays are of different schools of literary criticism: Feminist Criticism, psychoanalytic criticism, post-structuralist (deconstuctionist) criticism, Marxist critism, and finally a New Historicist criticism. Before each critism there is clearly written introduction to explain the motives and histories of that type of criticism.

This edition of Hamlet will not only introduce the reader to more Shakespeare, but also explain the play and help to familiarize the reader with literary criticism too. It is a beautiful volume that cannot be more recommended if you are wanting to buy a copy Hamlet.

Hamlet has always been thought of as one of the classics of literature. I could not think of another book which deserves this title more. The story of a Danish pricne who learns from his fathers ghost that his father, the king, was murdered by his brother, Hamlet's uncle, who then went on to marry Hamlet's mother. Hamlet is overcome by a longing for revenge, but also indecisive. Shakespeare creates a great amount of tension between the chatacters with powerful confrontatoins and biting language. It is a suspenseful tragedy, filled with anguish.

William Shakespeare was a genious when it came to breaking down the human psyche, and Hamlet is perhaps one of the most complex plays when it comes to human emotions. It is undoubtably one of his finest works, full of very complex, interesting characters, and a wonderfully chaotic plot. There are innumerable theories on Hamlet, why he is so indecisive, and if it all comes down to an oedipus complex. whatever way you interpret it, everyone can get something out of it. I feel like I am priveleged to have read such a wonderful play.

Hamlet is a character that I can relate to in some ways, being a very indecisive person myself. I felt I could connect with him better than many Shakespeare characters, MacBeth, Ceasar, Juliet, Helena or Hermia. That is one of the reasons that I enjoyed Hamlet so very much. I wish that everyone could love Hamlet as much as I did, but I know, especially being a high-school student, that it is a little much for general reading. For high school students, like me, I very strongly recommend this book, if you really like Shakespeare, and aren't looking for a quick read. Otherwise, it might be a little to much to tackle, if you don't really enjoy Shakespearian tragedies. For anyone who has time required to comprehend such a complex work, and is looking for a masterpiece of literature that will keep them thinking, Hamlet is the book for you.

...Green has taken an EXTREMELY complex moment in history and written a magisterial (for once this word is aptly used!) chronicle - - political, military, cultural, and artistic - - of astounding astuteness. His writing on every aspect of the era manifests a sense of judgement that is breathtaking in its maturity, experience, and intelligence. He is also utterly hilarious. The first two chapters are almost purely military and, to me, quite boring. But the rest of this thousand page book is filled with layer upon layer of insights on the philosophy, mentality, and changing cultural expressions of this remarkable period. I had the great fortune of using this as a textbook for Erich Gruen's class at UC Berkeley: there are points of disagreement between Green, Gruen, and myself, but this is a stunning work, and deserves the highest encomia.

I would highly recommend this book to any student of the Hellenism, or antiquities. Mr. Green writes engagingly. While parading you the history of the period, he displays a simply astonishing depth of knowledge of the culture, science, techne, and customs of the period. At the same time, he engages you into debate with his opinions and observations. He is never reluctant to take a clever if somewhat sarcastic posture on any issue. This is part of the charm of the book.

My only question is would he be as critical of our mainstream culture as he is of the Greeks in the Hellenistic period. Would he be as critical of Thomas Aquinas's "long perspective gambit" as he is of the Stoic's? Would he criticize Buddha's teaching of the "connectedness of all things," as he does the Stoic's? My guess is that we would thrill in "slicing and dicing" them as well, although it comes closer to home for us all.

When you read this book, note chapter 11 "Critic as Poet." Peter Green's daimon is Callimachus of Alexandria: clever, sharply witty, and extremely familiar with his material.

This book is indeed 'magisterial'. Over 945 pages long, thoroughly annotated, and heavy enough to use as a weapon.

It covers the period of time referred to as 'Hellenic'; When the Greeks finally had it with the burden of freedom. After Alexander forced his troops to kneel to him in worship, murdered his closest asociates, and subsequently dropped dead himself.

Alongside palace murders and dynastic wars, Green gives us a detailed account of a Greek-centered world after the suicide of Greek liberty, integrity and brilliance. Such are the pitfalls of conquering the world. A geographical expansion concurrent with a contraction of genius.

Now, everybody and his cousin is Hellenized. It's the in thing to be since Alexander's generals have become kings in their own right. They may lack his courage and military genius but not his megalomania, tyranny or paranoia. And their princely offspring are generally inclined to be either half-witted or even more vicious.

No matter how much history may have romanticized Themistocles, Pericles, Socrates, and the rest of the boys in the previous 'golden age,' the Hellenic period is such a fall from grace that the reader can hardly wait for a sane and efficiently corrupt Rome to wipe them out in the final chapters.

Green's style may be too breezy and ironic for some readers who prefer their scholarly works dry.

As an example, Green mentions that Cleopatra respected Caesar while Mark Antony "nearly drove her nuts."

Above all, it's in the area of philosophy that Green show his most original or, to some, annoyingly cute writing.

Philosophy, far from being a rarified persuit of academics, is the central spirit of the culture and times. And the times were tough.

This is why Cynics, who would normally be considered parasites or simply nuts, flourished and why Skeptics often brought men toward rather than away from religion. After all, if nothing can be proven with certainty, why not go for the afterlife with gusto?

For those of us who are inclined to think of Stoics as heroes or of Epicureans as noble, Green rounds out the portrait unflatteringly.

Epicurus was, according to Green, a cult leader who was able to live placidly in his 'garden' thanks to the generous donations of rich dilettantes. Working for a living does not enter into his philosophy. A dogmatist who shunned debate and anathematized all 'heretics' in his polemics, he was probably suffering from bulemia. Hence, his constant emphasis on avoiding pain as the greatest of virtues.

In this 'monastic life' his followers engaged in friendly conversation trying to convince themselves that all careers were uselesss and death was not such a big deal.

Stoicism also takes a beating. We're told it was a pop philosophy, logically suspect in its premises, a consolation for a once free people who were now politically powerless.

Stoics became vastly more influential than Epicureans, not because their message was more profound than, 'Gather your rosebuds while ye may,' but because it provided a cosmological support to astrology, an increasingly popular fad among the powerless as well as an incentive to the ambitious that they were fulfilling the destiny of the living universe as they strove for their goals by hook or by crook.

Therefore, it could be all things to all people, producing such unlikely bedfellows as Marcus Aurelius, Epictetus, and Seneca.

Bottom line? For anyone intersted in the Hellenic period, this is THE book.