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It's also helpful for reading verse. I've dusted off tons of old books at libraries, looking for basic explanations of Shakespeare's verse. They seem to be written by authors who either have never taught other human beings (i.e., actors) or who think it is foolishly elementary to explain the basic concepts of verse in a way the average reader can understand. The authors of "All the Words on Stage" demystify iambic pantameter and relieve the tension felt when trying to unpack Shakespeare's heightened language.
It's more than a pronouncing dictionary. It's a bible!
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Ms Berkman has done all of the work required for historic fiction: she writes of everything from the laws of the time to the family linen. To this she has added an inspired imagination and outstanding writing.
The result is an excellent collection of linked stories -- it almost adds up to a novel about Shakespear. She has taken what little we know of these figures and constructed plausible, fascinating, three-dimensional women.
I would have entitled this review "Her Infinite Imagination," but someone has already used it.
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Titleless, identified only by numbers, these poems have vivid metaphors and imagery ("let not winter's ragged hand deface," "gold candles fix'd in heaven's air"). The tone of the poetry varies from one sonnet to the next; sometimes it focuses on old age, to love that "looks upon tempests and is not shaken," and simple expressions that can't really be interpreted any other way. Some of it is pretty well-known ("Shall I compare thee to a summer's day?/Thou art more lovely and more temperate") but most of them you won't have seen before.
Even if you're not normally a fan of poetry, the delicate touch of Shakespeare's words is worth checking into. Fantastic.
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Bevington's edition of Shakespeare's plays is a popular choice, and not without good reason. But that doesn't make an ideal choice. The introduction to this one volume edition is ample with chapters on life in Shakespeare's England, the drama before Shakespeare, Shakespeare's life and work. These are good, but they tend to rely on older scholarship and they may not be current. For example Bevington repeats Hinman's claim that there were 1200 copies of the 1623 Folio printed. However later scholars think the number was quite a bit lower, around 750. It should be said that we don't know for sure how many copies of the 1623 folio were printed and either number could be correct.
Bevington's edition prints the plays by genre. We get a section of Comedies, Histories, Tragedies, Romances and the Poems. He puts "Troilus and Cressida" with the comedies, though we know the play was slated to appear with the tragedies in the 1623 folio. The play was never meant to appear with the comedies, and all the surviving Folios that have the play have it at the beginning of the tragedies.
Let's get down to brass tacks. You are not going to buy an edition of Shakespeare's works because of good introduction. You're going to buy one because the quality of the editing of the plays. Is it reliable? Is it accurate? For the most part this edition is reliable and accurate, but that does not mean it is accurate and reliable in every instance.
Modernized editions of Shakespeare's plays and poems are norm. Since the 18th century (and even before) editors of Shakespeare have modernized and regularized Shakespeare's plays and poems. There are good reasons for this modernization. There is the reader's ease of use and the correcting misprints and mislination. I have no problem with this regularization of spelling or punctuation. But when an editor goes beyond normalizing and modernizing--when an editor interferes with the text then I have a problem.
Let me give two examples of the editorial interference that I am writing about:
King Lear 2-1-14 (p. 1184)
Bevington has:
Edmund
The Duke be here tonight? The better! Best!
This weaves itself perforce into my business.
The Folio has:
Bast. The Duke be here to night? The better best,
This weaues it selfe perforce into my businesse,
Even allowences made for modernization of punctuation and grammar would not account for Bevington's "The better! Best." Bevington glosses this to mean "so much the better; in fact the best that could happen." Nice try, but "The better best" of the folio is a double comparative, (which is a regular feature of Early Modern English) and not two separate adjectival phrases. Interestingly, the Quarto printing of Lear prints this scene in prose, and there is no punctuation between "better" and "best" in that version either.
A few lines down Lear 2-1-19 Edmund continues
Bevington has:
Brother, a word. Descend. Brother, I say!
Enter Edgar
But Bevington has reversed the order. The Folio has:
Enter Edgar.
Brother, a word, discend; Brother I say,
Bevington does not say why he changed the order, though to be fair other modern editors have done the same thing.
These two changes just a few lines apart go beyond regularization or modernization. They interfere with the text as presented in the 1623 Folio. And Bevington does not explain the changes. So next time you pick up this or any other modernized edition you should ask yourself "am I really sure what I'm reading is what Shakespeare wrote?"
As complete Shakespeares go, the Bevington would seem have everything. Its book-length Introduction covers Life in Shakespeare's England; The Drama Before Shakespeare; London Theaters and Dramatic Companies; Shakespeare's Life and Work; Shakespeare's Language : His Development as Poet and Dramatist; Edition and Editors of Shakespeare; Shakespeare Criticism.
The texts follow in groups : Comedies; Histories; Tragedies; Romances (including 'The Two Noble Kinsmen'); Poems. Each play is given a separate Introduction adequate to the needs of a beginner, and the excellent and helpful brief notes at the bottom of each page, besides explaining individual words and lines, provide stage directions to help readers visualize the plays.
One extremely useful feature of the layout is that instead of being given the usual style of line numbering - 10, 20, 30, etc. - numbers occur _only_ at the end of lines which have been given footnotes - e.g., 9, 12, 16, 18, 32. Why no-one seems to have thought of doing this before I don't know, but it's a wonderful innovation that does away entirely with the tedious and time-wasting hassle of line counting, and the equally time-wasting frustration of searching through footnotes only to find that no note exists. If the line has a note you will know at once, and the notes are easy for the eye to locate as the keywords preceeding notes are in bold type.
The book - which is rounded out with three Appendices, a Royal Genealogy of England, Maps, Bibliography, Suggestions for Reading and Research, Textual Notes, Glossary of common words, and Index - also includes a 16-page section of striking color photographs.
The book is excellently printed in a semi-bold font that is exceptionally sharp, clear, and easy to read despite the show-through of its thin paper. It is a large heavy volume of full quarto size, stitched so that it opens flat, and bound, not with cloth, but with a soft decorative paper which wears out quickly at the edges and corners.
If it had been printed on a slightly better paper and bound in cloth, the Bevington would have been perfect. As it is, it's a fine piece of book-making nevertheless, and has been edited in such a way as to make the reading of Shakespeare as hassle-free and enjoyable an experience as possible. Strongly recommended for students and the general reader.
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Despise reading Shakespeare? Not to worry, as the RSC introduce you to Shakespeare in a variety of hilarious ways - via a cooking show, a football game, even a rap song! Indifferent to Shakespeare? Well, don't you worry either. The RSC cover the Bard's plays and sonnets in ways you'd never imagine, prior knowledge of the plot becomes unnecessary. Love reading Shakespeare? Then you'll still enjoy this book!
Plus, there are brilliantly clever footnotes (I've always hated them before, but I loved these!), funny forewords and humorous pictures. This book is brilliant and funny and worth every penny!! Buy it!
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Henry V's stirring orations prior to the victorious battles of Harfleur("Once more unto the breach") and Agincourt("We few, we happy few, we band of brothers") astonish and inspire me every time I read them. Simply amazing. Having read Henry IV Parts I&II beforehand, I was surprised Shakespeare failed to live up to his word in the Epilogue of Part II in which he promised to "continue the story, with Sir John in it." The continuing follies of the conniving Bardolph, Nym, & Pistol and their ignominious thieving prove to be somewhat of a depricating underplot which nevertheless proves to act as a succinct metaphor for King Harry's "taking" of France.
Powerful and vibrant, the character of Henry V evokes passion and unadulterated admiration through his incredible valor & strength of conviction in a time of utter despondency. It is this conviction and passion which transcends time, and moreover, the very pages that Shakespeare's words are written upon. I find it impossible to overstate the absolute and impregnable puissance of Henry V, a play which I undoubtedly rate as the obligatory cream of the crop of Shakespeare's Histories. I recommend reading Henry IV I&II prior to Henry V as well as viewing Kenneth Branagh's masterpiece film subsequent to reading the equally moving work.
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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I read it on the plane and, to my great embarrassment, found that I had to put the book down in my lap several times and take deep breaths, lest the other passengers see the tears welling in my eyes.
Bob Smith is a man I didn't know of before picking up the book. I didn't expect to care about his memoir. What I found is that I ended up caring very deeply and simply could not put it down until I'd finished it. To say that it is a moving book is an understatement. Somehow, Mr. Smith touches on all of life and love and loss and hope and well --- humanity. Perhaps it is because he weaves into his tale the timeless wisdom found in Shakespeare. And he does so masterfully.
By reading this memoir, you will learn about life, yourself, Shakespeare, and what it means to be human.
Bob traverses New York to deliver his own-styled classes on Shakespeare to groups of seniors, making the bard relevant for them, making his words live and breath as he mines the entire oeuvre with its frequent references to their own life experiences and problems. While seniors nod in recognition, he reads from Henry V, `A good leg will fall, a stringent back will stoop, a black beard will turn white, a fair face will wither.`
While Smith tells of how he found his place in the sun, out of the sun, starting humbly as Hamlet`s dresser in Stratford, Connecticut, he uses quotes so proficiently, they never appear pretentious. He introduces us to his severely challenged younger sister, cleverly quoting the Queen`s speech from Hamlet concerning troubled Ophelia.
Remarkable for a young person, Smith devotes endless hours to his sister`s comfort. Coping with her brings powerful emotions to the beginning third of the book. His mother`s mind wanders too, so he dives into Macbeth: Not so sick, my Lord, as she is troubled with thick-coming fancies.
In this memorable mélange, Smith reveals unusual portraits of theatre greats for whom he worked, including Katharine Hepburn, Bert Lahr, John Houseman, Robert Ryan. However, he returns frequently to etch for us another memorable picture of the elderly sinking into the farrago of old age, looking for and finding safety, acceptance and recognition in Smith`s unique propagations.
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So says Dromio of Ephesus, one of the members of two sets of estranged twins whose lives become comically intertwined in this delightful, ingenious, & aptly named Comedy of Errors. Being an avid Shakespeare fan and reader, I unequivocally consider The Comdey of Errors to be Shakespeare's finest and funniest comedy. Antipholus of Syracuse and his long lost twin Antipholus of Ephesus along with the two twin servants Dromio of Ephesus and Syracuse become unceasingly mistaken for each other making for a hilarious and entertaining farce of a play.
The Comedy of Errors has been copied many times since in literature, movies, & sitcoms, although it has never been duplicated.