The Naxos recording is an excellent rendition of RIII. The characterization is rich and well done. Full of passion and rage, you don't need to see the actors to "see" the play. The scene with Anne is particularly good.

This book is fantastic! You get Venus and Adonis (erotic love poem), Rape of Lucrece (roman rape poem), Lover's Complaint (about the dangers of Love), Phoenix and the Turtle (symbolic of Love and Faith), and of course 154 lovely SONNETS.

David Bevington's introductions are short and informative; the footnotes are there for guidance and do not interfere with the text. A wonderful text. Buy it and take it to the beach.

It is refreshing to find an author who can find an intersection between serious feminist critique and a true love of Shakespeare's work. In this book, Evelyn Gajowski explores the tension between the role of women as objects of men's projections and their own experience of subjectivity in Shakespeare's plays. The author studies three characters - Juliet, Desdemona, and Cleopatra- in detail to show how Shakespeare created women protagonists who are subjective human beings, independent of the objectifications of the male characters.

Shaheen is a good reference for anyone who is interested in learning how much of the bible Shakespeare used in his plays. Along with the biblical chapter and verse citations, Shaheen also refernce's the commonly understood practice of faith during the time Shakepeare was writing. What did the Catholic and Angelican church practice? What bible or biblical references did Shakespeare have access to? Shaheen gives one a bird's eye view of how the Christain church may have positively impacted the words, thoughts and faith of William Shakespeare.

Schoenfeldt masterfully combines a sophisticated literary analysis with the cultural prevalence of humoral medicine to provide real insight into the ways that people experienced and expressed their identities in early modern England. His book is well written, well considered, and should be well received. Hooray!

As the table of contents, disguised as a playbill, informs the reader, "The Globe Theatre is proud to present a new season of Mr. William Shakespeare's plays." So come one, come all and take your seats as author, Marcia Williams, presents seven famous plays, As You Like It, Antony and Cleopatra, Richard III, Twelfth Night, King Lear, The Merchant of Venice and Much Ado About Nothing, in comic book format. Each "performance" is broken down into three parts: Shakespeare's actual words, spoken by the actors on stage, the plot of the story told in crisp, clear and uncomplicated text beneath the pictures and the often amusing and sometimes important remarks made by the audience as they watch. The illustrations of each play are colorful, easy to follow and packed with marvelous detail that catches the readers' eye and propels the story forward. Bravo, Mr William Shakespeare is a wonderful and enjoyable introduction to the Bard's plays that takes you back to their original setting at the Globe, in the mid-1500s and is an evocative experience that's sure to whet the appetite of young readers. "The audience is asked to refrain from throwing hard objects at the performers. Rotten fruit only, please. Beware of pickpockets!" Read, learn and enjoy!

I appreciated this book for its Christian perspective on a few of my favorite Shakespeare plays. The author explored not only the plots, but also the characters' relationships to Christ. The author made insightful parallels and comparisons between the characters and Christ and His church. I also appreciated the critiques of some of the film versions of the plays. I heartily recommend this eye-opening book!

This is one of the most interesting "musical analysis" books I have read. It is a useful book for any composer to read, and for others, too, I'm sure.

Shakespeare is to be taken as seriously as possible and this book does. It can really help those studing Shakespeare at school. An ace way to get a headstart!

Although designed with undergraduate students in mind, this collection of essays from thirteen scholars who are excellent teachers and writers guarantees that any intelligent Shakespeare fan will be deeply enriched by engaging with "The Cambridge Companion to Shakespearean Tragedy." The multidimensional and interdisciplinary explorations evoked by Shakespeare (the works and the man) study are well surveyed here.

Chapter topics (e.g., language, gender, performance history) necessarily overlap with those of volumes such as "Cambridge Companion to Shakespeare," but time and space are claimed here for the special concerns that must be brought to bear most critically regarding the monumental tragic works (and even for the 'minor' plays of tragic genre). Concerns about Elizabethan/Jacobean politics and religion are given extended space.

Traditional areas of study are mined for relevance to tragedy. For example, Russ McDonald's chapter on language explicates how rhetoric and its language are weapons as significant to the development of a Shakespearean tragedy as are swords or poisons. David Bevington tackles the fascinating interface of author/artwork to help us consider how/why Shakespeare's artistry developed across his varied approaches to tragic form. Michael Warren helps the beginner appreciate why (seemingly academic issues such as) 'textuality' and 'early performance' are vitally linked to the what-and-why behind tragic struggles and heroes.

Often a single chapter cannot hope to more than scratch the surface of an enormous complex of issues (e.g., Catherine Belsey on "Gender and Family"). But in surveys these shortcomings are unavoidable, and the chapters give overviews that are fair and effective.

My primary wish for an enhanced edition would concern the appended "Select Bibliography" - it would be more helpful if broken into sections by subject. Better yet, a "Recommended Further Readings" section at the end of each chapter (as in other Cambridge Companions) would be of more help to the student who wished to research in more depth.

All in all, this Companion is a highly recommended starting point for any reflective reader to broaden their perspective to span such disparate works as Titus, Romeo-Juliet, and Hamlet - and broaden their appreciation of the Bard's achievements.