This is the 12th book that I've read in this series. I'm reading them in order, but I read a couple of the later ones before going back to start from the beginning. Like all the others, this one is nicely written. Peters' command of the English language is impressive. Her ability to portray life in 12th century England is also impressive. These stories are good period pieces. I have enjoyed all of the episodes I've read so far.

On the other hand, this particular installment is not the most mysterious of Brother cadfael's mysteries that I have read. It is clear from early on who the ordinary ruffians are. It is also clear who is troubled and has questionable motives. It only remains to clarify the relationship between two troubled young men to sort out the mystery. Further, the mystery doesn't have much immediacy for the reader, having taken place a considerable distance away and before the story opens. This story is also a bit "gushier" than most. The romantic angle is played up with a bit too much intensity and there is a "miraculous" healing during the story that fills a whole chapter and does little to further the plot.

I enjoyed this book. It was a pleasant and easy read. But, as a mystery, it was only mediocre. If you are a Cadfael fan, enjoy. But, if you're looking for a real whodunit, look elsewhere.

If you're interested in an audio edition, check that you're getting the unabridged recording narrated by Stephen Thorne.
Ideally, read all the preceding books in the series, in order, before reading this one. At a minimum, first read #1 (A Morbid Taste for Bones, the story of how the monastery came to have St. Winifred as its patroness) and The Virgin in the Ice, to avoid the biggest spoilers.

This June of 1141, the feast of the translation of St. Winifred dawns upon a time when the civil war between the Empress Maud and King Stephen for the throne of England may finally draw to a close: Stephen was captured at the battle of Lincoln, and even now Maud is negotiating with the city of London for her entry into Westminster for her coronation. The papal legate, Bishop Henry of Blois, brother to Stephen, has called a legatine council (including Abbot Radulfus from Shrewsbury) and is working on turning his allegiance to the empress, for the sake of peace. Hugh, sheriff of Shropshire for Stephen, broods on ways and means of getting a man into Bristol to free Stephen, and prays for a miracle, while using his friend Brother Cadfael as a sounding board.

Cadfael, too, is praying for a miracle - any miracle - at this feast of St. Winifred. Not from a desire for the abbey's glory, or from any faltering of his own faith, but as a sign that the saint took no offense from the events of _A Morbid Taste for Bones_, when he accompanied a delegation from the abbey to the saint's grave in Wales to bring back her mortal remains as holy relics. (Since that was before Hugh's arrival in Shrewsbury, Cadfael summarizes the story for him, so it's possible to follow the plot of _Pilgrim_ without reading _Bones_. But be warned that Cadfael reveals the ending of _Bones_ to Hugh.)

Abbot Radulfus returns in time for the festival, bearing word of a cowardly murder at the legatine council. The attempted murder of the envoy of Stephen's queen failed, but Ranulf Bossard, the brave man of the empress' party who foiled the attempt, was himself cut down in the street.

All the brothers are busily preparing for the huge influx of pilgrims at this time of year, many of whom are ill and seeking miraculous healing. Brother Cadfael, as herbalist, sees some of the more noteworthy cases: Rhun, a devout half-Welsh boy with a twisted leg that might respond to treatment; his sister, Melangell; a young Welsh clark, Ciaran, traveling barefoot and wearing a large iron cross, on his way to Wales to die; Matthew, Ciaran's faithful shadow. There are less savory characters, as well, petty (and not so petty) career criminals who prey on the credulous and the frail. (Credulous, as in, people who trust a stranger's dice.) Some may even have fled from a city too hot to hold them.

Into this festival atmosphere rides a young envoy of the empress' party, on a twofold mission: to sound out Hugh on the question of his fealty, and to seek Bossard's young heir, who disappeared in this direction after his lord's death. But even if he is among the pilgrims, how can he be identified by those who have never seen him? And was he involved in Bossard's death?

It is A.D. 1141, A year that brings a tide of pilgrims to the Addey.

This is the tenth mystery in the series. You may want to start from the first to let the interacting mysteries reveal themselves in chronological order. This is the second one for me after "The Morbid Taste for Bones." I do have to warn you that the synopsis to "A Morbid Taste for Bones" and "Virgin in the Ice" is played out again somewhat in the first two chapters of this book.

What can not be portrayed in the short Cadfael movies and would make marvelous reading on its own is the inter action between the forces and reasons behind the vacillating positions of Empress Maud and King Stephen. This is also a crucial part of the story; as the loyalties and logistics play a major part in the mystery and people's lives.

I will not compare and contrast the people in the story or the differences in the film adaptation as the fun is finding out for your self, all the actions and interaction of people. I will say that none of this would have been possible with out the grace of St. Winifred.

I very much enjoyed this book, but could only give it four stars because it is a bit out of date regarding some of the instruments of the capital markets. For instance, credit derivatives and total return swaps are used to round out and diversiry bond portfolios especially in structured finance. Tavakoli has written an excellent book on these products: "Credit Derivatives" (Second Edition). These are off balance-sheet products that are a form of financing. Tavakoli also talks about other types of financing which reduce portfolio concentration risk.

For a textbook, this is written in a reader-friendly style. You can almost see the author at the blackboard explaining the concepts AND math in plain English. And yet, very little handwaving at all. On the other hand, this may also present special readability challenges: you may find yourself constantly flipping between text and tables to follow the discussion.

From a pedagogical point-of-view, some of the developments might have been more intuitively presented. For example, the chapter on option-pricing theory should mention the expected-value interpretation. Over all, however, this text does very well on this score.

I particularly liked the survey of empirical studies at the end of each major concept, that discusses the imperfections that other researchers have looked into, and their findings.

This is one of the core reference texts I keep on my desk.

This was one of the texts I had to read for one of my MBA classes. It provides an excellent theoretical background in finance and the theories that link finance to macro and micro economics. It is not very practical however. Not much in the book can be applied. It is a must, however, for any serious student of finance. The coverage of option models is a little light, however. I highly recommend that people have a background in calculus, differential equations, probability theory, and linear algebra before reading this book.

a good read, but can be confusing for kids. It takes a while to comprehend all of the Shakespearian langauge, but is very interesting. It is boring at parts.

The Winter's Tale contains some of the most technically difficult solutions to telling a story that have ever appeared in a play. If you think you know all about how a play must be constructed, read The Winter's Tale. It will greatly expand your mind.

The play opens near the end of a long visit by Polixenes, the king of Bohemia, to the court of his childhood friend, Leontes, the king of Sicily. Leontes wants his friend to stay one more day. His friend declines. Leontes prevails upon his wife, Hermione, to persuade Polixenes. Hermione does her husband's bidding, having been silent before then. Rather than be pleased that she has succeeded, Leontes goes into a jealous rage in which he doubts her faithfulness. As his jealousy grows, he takes actions to defend his misconceptions of his "abused" honor that in fact abuse all those who have loved him. Unable to control himself, Leontes continues to pursue his folly even when evidence grows that he is wrong. To his great regret, these impulsive acts cost him dearly.

Three particular aspects of the play deserve special mention. The first is the way that Shakespeare ties together actions set 16 years apart in time. Although that sounds like crossing the Grand Canyon in a motorcycle jump, Shakespeare pulls off the jump rather well so that it is not so big a leap. The second is that Shakespeare captures entirely different moods from hilarious good humor to deep depression and remorse closely adjacent to one another. As a result, the audience is able to experience many more emotions than normally are evoked in a single play. Third, the play's final scene is as remarkable a bit of writing as you can imagine. Read it, and marvel!

After you finish reading this play, think about where your own loss of temper has had bad consequences. How can you give yourself time to get under control before acting rashly? How can you learn to be more open to positive interpretations of events, rather than dark and disturbing ones?

Love first, second, and always!

The Winter's Tale is a lot of things: heart-breaking, exhilerating, funny, beautiful, romantic, profound, etc. Yeah, it's all here. This is one of the bard's best plays, and I can't believe they don't teach this in schools. Of course, the ones they teach are excellent, but I can see high school kids enjoying this one a lot more than some of those others (Othello, King Lear).

The story is, of course, brilliant. King Leontes goes into a jealous rage at the beginning against his wife Hermione. Leontes is very mistaken in his actions, and the result is tragic. Shakespeare picks the story back up sixteen years later with the children, and the story works to a really, really surprising end of bittersweet redemption.

This is one of Shakespeare's bests. The first half is a penetrating and devestating, but the second half shows a capacity for salvation from the depths of despair. Also, this being Shakespeare, the blank verse is gorgeous and the characters are well drawn, and the ending is a surprise unparalleled in the rest of his plays. The Winter's Tale is a truly profound and entertaining read.

I am an avid fan of the Cadfael series and I enjoyed this book very much. The ending is terrific, though some people may not agree with me. Am deducting one star because of the character of Millicent Prescote. She is extremely disloyal and changeable. I truly wondered at the end if her marriage will be a happy one.

Ellis Peters is in a class by herself. Before her death at the age of 82 in 1995, she wrote a series of 20 mysteries set in England and Wales during the 12th Century. (She also wrote many other books under her real name, Edith Pargeter.) In the Cadfael mysteries, her "detective" is a former Crusader who has decided to spend his last years as a monk in a monastery in Shrewsbury. I have found the Brother Cadfael in the books to be far more interesting than the Brother Cadfael of the television series. Many of the books in the Cadfael series are as much (or more) historical romances as they are mysteries. Don't start any book in this series unless you enjoy a strong dose of romance and medieval English history mixed with mystery. The Cadfael series (like most good series) is more enjoyable if the books are read in sequence. Dead Man's Ransom is the ninth book in the series.

In Dead Man's Ransom, Brother Cadfael is called upon to solve the murder of the Sheriff of Shropshire, Gilbert Prescote. Suspicion falls on a Welsh captive and on others who have a grudge against the stern sheriff. Cadfael's investigation is hampered by Welsh raids along the border and by continued strife within England.

In the tenth installment of the ever-so-popular Brother Cadfael series, author Ellis Peters proves a winner once again with "Dead Man's Ransom."

Set in the year 1141, civil war runs amok in Britain between King Stephen and the Empress Maud, and it appears that the end of the twelve year old struggle is in sight. The war has taken its toll in many areas, as civil wars do, and the people are quite weary of it all. Maud's forces, however, now have captured the king himself. The sheriff of Shropshire, too, has been taken captive. This means, in those days, that in all likelihood an exchange of prisoners will take place.

Alas, one of the captives is now dead and it is our Brother Cadfael who senses that, indeed, it is murder, and, just as naturally as Peters would have it, it is he who is given the responsibility to solve the case and to try to bring about the release of the king.

Brother Cadfael is the former crusader now a Benedictine monk, who specializes in herbal medicines, solving murders, and compassion. Peters (Edith Pargeter) has developed her Cadfael through this series of medieval whodunits into a man of the cloth easily admired and respected. He is a man of firm, and devout, principles; a man who seems to carry the weight of the shire on his own Welch-born shoulders!

Peters has made grand the area of Shropshire, and especially the town of Shrewsbury there on the Welch borders. She has also created an exciting family of literary characters to complement Cadfael: Hugh Beringar (deputy sheriff of the shire and Cadfael's closest friend) and his wife Aline, Abbot Radulfus (the venerable patriarch of the abbey, and other members of the abbey. It is not essential that this series be read from the start (with "A Morbid Taste for Bones"), as this book could easily be read first and it would still hold up as a book on its own; however, readers generally will want to read them in order, as the presentation of character, of historical events, of character-interaction does show development in the series' genealogy. Peters died a few years ago and apparently there are no more Cadfael episodes aside from the twenty or so published, but each of the books extant bring the reader a treasure of reading adventures.

Billyjhobbs@tyler.net

Like other Ambrose books that I have read, Undaunted Courage is well written and researched. It tells the tell of Lewis and Clarks' great adventure across the USA. I have not read much of anything about this epic adventure before finishing this book, so I expected to learn a lot from one of America's best historians- I was not disappointed.

You get some great insight into what America was like in the early 1800s. America was full of great promise (the pioneer spirit, the land of opportunity, etc), but we also faced some serious problems (treatment of blacks, indians, woman, etc). One of the great ironies of the book is that some of the people who help Lewis and Clark to fulfill their mission, are treated the worst by the pair. Makes you wonder how such highly educated men (to include President Jefferson) could be so wrong about certain things, yet inspire others to accomplish great deeds.

Ambrose is a great storyteller, one of the best. His passion runs deep for this subject, so he gets long winded (as many other reviewers have noted) at times in the narrative. I think that is my main complaint about the book. Ambrose takes forever to get the explorers across the country, but returns them in a whirlwind. The book would have been better served if Ambrose took a more balanced approach to the expeditions timeline, giving equal weight to both parts of the trip.

I highly recommend this book to anyone interested in learning more about the cross-country adventure of Lewis and Clark. If you are ignorant about the subject, like I was (I thought it was just the pair with their female indian guide for most the trip), you will gain greater insight into one of America's truly historic events. Lastly, this book will make you appreciate many of the advancements we have made since then (i.e- transportation and communication systems), although it may also make you want to spend more time enjoying the wonderful outdoor parks of America.

This book is inimitable Stephen Ambrose. Like all of his books, he turned this book of history into his story --- a nonfiction adventure story. Stephen E. Ambrose actually evolved into what can be called a nonfiction novelist. Starting with historical facts, he blended-in a judicious amount of hyperbole, added a pinch of sensationalism, and came up with a new metamorphosis called creative history that was very successful at holding a reader's attention. There are now other authors (including yours truly) who do the same, but, Ambrose was the first and the best. "Undaunted Courage" is yet another book in a long line of his books that shows he knew how to inform by perfecting the knack of making history interesting. He shall be missed.

Ambrose's books are all excellent. Well written and expertly documented. This one is no exception. He traces the steps of Meriwether Lewis and William Clark on their famous journey across the wild America continent in the early 1800's. Much of his narrative is based on Lewis & Clark's own journals, but the story is told in Ambrose's indomitable style that will keep you turning the pages to the finish. You will get some special insight into the relationship between President Thomas Jefferson and Lewis and how that effected the outcome of history. The book is highly entertaining and interesting to read. Ambrose is by far on the best historical writers alive today and his work should be required reading in every classroom. As for his supposed pro-America bias, some readers claim to detect, I don't understand how that detracts from his work. That he admires the men and women, who fought for and founded our country and shows them in a fair & proper perspective, makes his accounts more creditable, not less. Read the book! It's Great.

This is the first Brother Cadfael mystery i've read. It was, perhaps, not the most fortuitous choice i could have made; certainly it was rather different from my expectation. Part of the difference can, of course, be explained by the fact that i have seen some four or five of the adaptations starring Derek Jacobi, so despite my best efforts i interpreted everything i read through that filter, seeing the characters in my mind according to their development in the television shows. The murder/mystery is well plotted out, though simple not quite simplistic, and nicely both hidden and revealed. I can point to the exact paragraph, sentence even, i was reading when i suddenly knew ~ not through anything revealed in that paragraph ~ the solution; the rest was mere reading to prove myself correct and see how Peters would handle the results of the revelation. Though this was not what i expected, i shall read another Cadfael book, just to learn a little more about him, and to see if i can't erase Jacobi's excellent interpretation from my mind.

I have to say that this is my favorite of the Chronicles. It has great characters, a riveting storyline, and the most beautiful picture of true, sacrificial love I have ever read. To say anymore would give away the ending. DO NOT skip ahead in this one or you will not get the full impact of the story. It is better to keep guessing. But read it a second time to get the details that you missed from not knowing the secret.

This Brother Cadfael mystery was absolutely riviting; I couldn't put it down. I know it sounds cliche, but true. I have been reading the books in order and this is the best one so far. I was totally engrossed in the plot and characters. The silent monk and the former nobleman turned monk were beautifully formed characters. The interplay between the repeating characters of the series was at its best in this novel. It just made me want to finish the series, so I could start all over again. I highly recommend any of the Brother Cadfael mysteries, but feel they should be read in some sequence to understand the relationships between some of the characters - especially our dear Brother and Sheriff Hugh Beringer. They are one of the best detective pairings since Perry Mason and Paul Drake.

It's a good solid read that went REALLY fast -- too fast perhaps. The book is rather fluffy, when you get down to it. I could have learned as much from 5 pages of charts and tables and statistics and about 40 pages of essays on the data.

Instead, this is written for the mass market, and mass-market are too easy. I like a more difficult read that makes me think. As far as financial books go, the trends are important, but not mind blowing either.

Still, I rate it three stars. Even that's a little generous, i feel.

The first four reviews, by the way, were submitted by the author's friends and family, very obviously.

I suggest a little consumer backlash here -- demand a real review, or rate the article "NOT USEFUL." :)

As an accountant and business teacher, I have long wondered about governement's indebted funds--Social Security Debt (at least 15 trillion in debt which is basically equivalent to the total value of American public stocks), Medicare Debt and other debts. This futurist book is one of the few that has been able to understand this. This futurist book is one of the few that even discusses this.

What most people don't know is that the budget uses crooked accounting and count the social security and medicare and medicaid cash-in flows as revenue in the budget, but they don't expense the debt. The result of this is having a budget surplus, despite going futher into debt. Right now, we are at least 25 trillion in debt and it will likely get worse. However, when baby-boomers retire, the cash-in flows in these funds will be huge out-flows.

So, even if the 5.7 trillion "budget" debt is taken care of by 2013 like Clinton says it will be, Social Security, Medicare and Medicaid funds will go bankrupt at around that time too if we want to continue to use government for what it was more traditional used for like roads, schools, and police. There is simply not enough money to go around. Either we pay for social security and Medicare and Medicaid or we pay for roads, defense and welfare or we pay for the empty funds. If uncorrected, it will be the end of a free-market society and America will cause a global economic meltdown. I don't know, you decide what life will be like when the AARP, the most powerful interest group finds out that the social security and medicare and medicaid funds are bankrupt and cannot even come close to supporting themselves.

This is the conclusion I have reached and if you disagree and have the data to back it up, I would love to hear from you at tingoglia@hotmail.com because I get too depressed even thinking about it. Or, heck, if you agree, you can e-mail me too. I HIGHLY RECCOMMEND THAT YOU READ THIS BOOK. Vote Republican or Libertarian.

As a member of the financial industry, I'm always looking for hints as to which sectors of the market will do well in the future. This book is exactly what I was looking for. Using demographic trends, the authors have come up with some scenarios which will definitely change my outlook on the future.

Hudson is a wonderful writer, and this is a first hand account of his childhood in gaucho land, with invaluable glimpses of Buenos Aires at the setting of Rosas dictatorship and after.

We badly need to have this book once more available. Full of insights into the meaning of human life in nature, it also chronicles the passing of a virgin landscape in S.America with the coming of a predatory civilization. Hudson came of age with little schooling but endless hours of observing life (especially birds) and reading. His friends in England, where he went in his 30s, often wondered why he was habitually sad. This profound reminiscence explains why.

"When I hear people say they have not found the world and life so agreeable or interesting as to be in love with it...I am apt to think they have never been properly alive nor seen with clear vision the world they think so meanly of...".

The author says it all. I picked up this book in a little Gloucester bookshop a few years ago, but I've finally just had a chance to read it in its entirety. What a Joy! It reminded me that the stresses and travails we encounter in our daily lives are so trivial at best, compared to the world we pass by everyday. The author's recollection of his boyhood on the Argentinian pampas and his adventures with snakes and birds and vizcachas made his words come alive, and I felt I was there with him. A treasure and one I would read to kids who have the gift of spirit in them, and to remind them that all of what he wrote is disappearing.

Macbeth is one of Shakespeare's more gloomy plays. It is downright grim. It starts grim and only gets blacker... ...It is one of Shakespeare's better plays

Macbeth is one of Shakespeare's more ambiguous main characters. Motivation is always a big question with him. Sure, he is hungry for power. Yet he also needs prodding from several quarters to take most of his actions.

Lady Macbeth is really no different. She comes off as eager for evil early on, but is utterly shocked by its repercussions. Her attempt to go against nature leaves her absolutely unhinged and thirsting after guidance--only to find despair. In this regard, Shakespeare anticipates the psychology of Dostoevsky.

Macbeth is also one of Shakespeare's most supernatural plays. Regardless of whether one wants to debate the reality of Banquo's ghost, there are forces at work in Macbeth that are often unseen, but which drive the plot. The witches and all the unnaturalness come up against the forces of nature (the trees) and the divinely appointed King.

The most remarkable thing about this play is, for me at least, that it becomes a true tragedy only in its last moments. Only when all the stuff has hit the fan, and he has realized his doom is eminent, does Macbeth show the courage and nobility of a true tragic hero.

Macbeth is a great place to start if you are new to Shakespeare. It is a fun place to return if you're not.

While I was basically familiar with Shakespeare's Tragedy of Macbeth, I have only recently actually read the bard's brilliant play. The drama is quite dark and moody, but this atmosphere serves Shakespeare's purposes well. In Macbeth, we delve deeply into the heart of a true fiend, a man who would betray the king, who showers honors upon him, in a vainglorious snatch at power. Yet Macbeth is not 100% evil, nor is he a truly brave soul. He waxes and wanes over the execution of his nefarious plans, and he thereafter finds himself haunted by the blood on his own hands and by the ethereal spirits of the innocent men he has had murdered. On his own, Macbeth is much too cowardly to act so traitorously to his kind and his country. The source of true evil in these pages is the cold and calculating Lady Macbeth; it is she who plots the ultimate betrayal, forcefully pushes her husband to perform the dreadful acts, and cleans up after him when he loses his nerve. This extraordinary woman is the lynchpin of man's eternal fascination with this drama. I find her behavior a little hard to account for in the closing act, but she looms over every single male character we meet here, be he king, loyalist, nobleman, courtier, or soldier. Lady Macbeth is one of the most complicated, fascinating, unforgettable female characters in all of literature.

The plot does not seem to move along as well as Shakespeare's other most popular dramas, but I believe this is a result of the writer's intense focus on the human heart rather than the secondary activity that surrounds the related royal events. It is fascinating if sometimes rather disjointed reading. One problem I had with this play in particular was one of keeping up with each of the many characters that appear in the tale; the English of Shakespeare's time makes it difficult for me to form lasting impressions of the secondary characters, of whom there are many. Overall, though, Macbeth has just about everything a great drama needs: evil deeds, betrayal, murder, fighting, ghosts, omens, cowardice, heroism, love, and, as a delightful bonus, mysterious witches. Very many of Shakespeare's more famous quotes are also to be found in these pages, making it an important cultural resource for literary types. The play doesn't grab your attention and absorb you into its world the way Hamlet or Romeo and Juliet does, but this voyage deep into the heart of evil, jealousy, selfishness, and pride forces you to consider the state of your own deep-seated wishes and dreams, and for that reason there are as many interpretations of the essence of the tragedy as there are readers of this Shakespearean masterpiece. No man's fall can rival that of Macbeth's, and there is a great object lesson to be found in this drama. You cannot analyze Macbeth without analyzing yourself to some degree, and that goes a long way toward accounting for the Tragedy of Macbeth's literary importance and longevity.

Noble Macbeth and the story of his decay due to the seduction of the forces of darkness - I liked it. The play sets off with an impressing scene, the chant of the three witches, a perfect use of language, I dare say. It takes only about a page and I knew it by memory after two times reading. We used to quote it during the breaks, and actually still do so sometimes. "When shall we three meet again...and so forth. After this promising start the language gets quite hard (I'm not any native form Enland, the US or any other english speaking part of this planet). One can follow the action though and every five or six pages there's a reward for your patience, at least for anybody who likes the power Shakespeare's language is able to display in their good or best moments: "Have we eaten on the insane root?" and the likes. Of course there's also the famous "It is a tale, told by an idiot...". It's for these moments, where Williams knew how to transfere a feeling of one of his caracteres into the realm of a universal significance, that I enjoyed the play...

When rating Shakespeare, I always rate his works as compared to other Shakespearean works; otherwise, the consistently high marks wouldn't be very informative. For instance, if this were to be rated against the general run of literature extant, it would certainly rate five stars. Even by the standard I'm using, it's close.

Like "Hamlet", this is a tragedy that still manages to have some very funny lines; as in "Hamlet", this is generally due to characters either pretending to be crazy, or truly being crazy, so it's something of a dark humor, but humorous it still is. Lear's jester has some great lines doing what only a jester could get away with (and what the reader wants to do): telling the King that he's an idiot when he's done something ignorant beyond belief. Edgar, son of Gloucester, banished by his father for supposed treason, plays the part of a mad beggar to save his life, and when Lear, honestly crazy from grief, meets up with him, their conversations rival anything in Hamlet for manic nonsense that still manages to make a certain warped and poigniant sense.

It's a shame that the language has changed so much since Shakespeare's time, so that the masses are unable to enjoy and appreciate his wit; his plays were not written to be enjoyed only by the literati; they were intended to entertain and, yes, enlighten the masses as well as the educated; his plots seem to be right in line with either modern romantic comedies (in his comedies) or modern soap operas (in his tragedies). Modern audiences would love him, if only they could understand him; unfortunately, when one "modernizes" the language in a Shakespearean play, what one is left with is no longer Shakespeare, but simply a modern adaptation. Which, if done well, is not without value, but is still far short of the original.

This star-rating system has one important flaw: you have to rank books only in relation to its peers, its genre. So you must put five stars in a great light-humor book, as compared to other ones of those. Well, I am giving this book four stars in relation to other Shakespeare's works and similar great books.

Of course, it's all in the writing. Shakespeare has this genius to come up with magnificent, superb sentences as well as wise utterings even if the plot is not that good.

This is the case with Lear. I would read it again only to recreate the pleasure of simply reading it, but quite frankly the story is very strange. It is hard to call it a tragedy when you foolishly bring it about on yourself. Here, Lear stupidly and unnecessarily divides his kingdom among his three daughters, at least two of them spectacularly treacherous and mean, and then behaves exactly in the way that will make them mad and give them an excuse to dispose of him. What follows is, of course, a mess, with people showing their worst, except for poor Edgar, who suffers a lot while being innocent.

Don't get me wrong: the play is excellent and the literary quality of Shakespeare is well beyond praise. If you have never read him, do it and you'll see that people do not praise him only because everybody else does, but because he was truly good.

The plot is well known: Lear divides the kingdom, then puts up a stupid contest to see which one of his daughters expresses more love for him, and when Cordelia refuses to play the game, a set of horrible treasons and violent acts begins, until in the end bad guys die and good guys get some prize, at a terrible cost.

As a reading experience, it's one of the strongest you may find, and the plot is just an excuse for great writing.

One of literature's classic dysfunctional families shows itself in King Lear by William Shakespeare. King Lear implicity trusts his three daughters, Goneril, Regan, and Cordelia, but when the third wishes to marry for love rather than money, he banishes her. The two elder ones never felt Lear as a father; they simply did his bidding in an attempt to win his favor to get the kingdom upon his death. Cordelia, on the other hand, always cared for him, but tried to be honest, doing what she felt was right. As Lear realizes this through one betrayal after another, he loses his kingdom -- and what's more, his sanity...

The New Folger Library edition has to be among the best representations of Shakespeare I've seen. The text is printed as it should be on the right page of each two-page set, while footnotes, translations, and explanations are on the left page. Also, many drawings and illustrations from other period books help the reader to understand exactly what is meant with each word and hidden between each line.