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Yet, for all that, Bradley's approach to the heroes as though they were characters we all know has revealed a great deal about what Shakespeare has made those characters, and those who see the characters as complex and psychologically worth exploring identify a more significant aspect of Shakespeare's interest in humans and his art than do many of Bradley's opponents. Moreover, the detail of his examinations of the texts makes it possible to probe much with him, even if one continues to question or quarrel with him on the way (and he is not infrequently demonstrably wrong). Thus this remains a work of criticism which is inspirational and searching even if at times quite wrongheaded; and every serious reader of Shakespeare (including actors and directors) should read this book and own it. - Joost Daalder, Professor of English, Flinders University, South Australia
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Russell includes drawings by Wren (who practically rebuilt London after the fire of 1666) for whom there is no monument ('If you want to see a monument, look around', he is once reported to have said, meaning the abundance of architectural monuments most of which remain to this day), Carter, Gilbert, Soane, Kip & Knyff (a print of the original drawing for Buckingham House, now Palace). Among the paintings are all famous portraitures and landscapers, scenes royal and common, serious and fanciful. Nearly 200 illustrations, including almost 100 full-colour plates of paintings, make this book a stunning edition.
Russell recounts an early comment on urban renewal, by Francis Bacon, who commented upon buying a house in an unsafe neighbourhood: 'I have bought the house in which I shall be murdered.' But, within a year, the Foreign Minister had purchased the neighbouring house, making the area safe and sought-after.
'The changes talked about here [and generally everywhere in the history of London] owe nothing to Authority. No government planned them, foresaw them, or sanctioned them. They are owed to the experimental, liberated, and sardonic temper of the individual Londoner as it has evolved.'
'Like every other big city in the western world, London was built for a society that no longer exists.' This one statement perhaps best sums up the history of London. This book gives new life to that departed society, and helps to put London in its proper context.
This was obviously a labour of great love on the part of Russell. Do yourself and favour and purchase the hard-back edition. You will be glad you did.
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I will never buy Shakespeare from another publisher. While these books may be slightly more expensive than a "mass market" edition, I believe that if you are going to take the time to read and understand Shakespeare, it is well worth the extra dollar or two. The Introduction, the images, and plethora of footnotes are irreplaceable and nearly neccessary for a full understanding of the play (for those of us who are not scholars already). The photocopy of the original Quatro text in the appendix is also very interesting.
All in all, well worth it! I recommend that you buy ALL of Shakespeare's work from Arden's critical editions.
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The stories themselves? Some make you think. Some make you wonder. All make you remember.
The most impact is provided by the independent, i.e. non-superhero, writers who express what they went through with pictures and words. From the initial shock to the lingering malaise, the complete cycle is expressed. Reading this book brought back those feelings in me and, even though my emotions were swelling up, I kept reading. This event is now part of our collective experience and we are forever affected by it.
I recommend reading through when you need some perspective on what's important in life. Enjoy life, tell your friends and family that you love them because you never know when it may end.
This review doesn't get too into the content of the book but the impact that it had. As for me, that's the sign of a good read.