I spotted this book at the library near the check-out desk and grabbed it-the subtitle, The Frontier photography of William Henry Jackson, sounded like something I could pick up and browse in between tasks (this was between Thanksgiving and Christmas). I have a grown son in California and a grown daughter who is a photographer and who travels the world pursuing new vistas for her camera. I am buying her this book as it resonates with the kind of tale she has told me of her adventures. It is described as juvenile literature, which is all well and true because the language is accessible to junior-high-aged children, but nevertheless regrettable because perhaps most adults will therefore never consider reading it. Yet the writing, the concepts, and above all the photography are so full of the beauty, the optimism, the struggles and challenges of our nation in the nineteenth century as we grew from a rural thinly populated mainly eastern seaboard land to a multiethnic, continental, industrial society that I found it entirely engrossing. All these social and cultural threads weave through the narrative painlessly, and the glory of the photos of life and nature and the real people I have always heard (only as names in history books) at the time of the conquering of the west are reason you keep turning those pages.

If you are interested in the adventures of Henry VIII or you enjoy thick, historical novels, you will probably want to read this book. Margaret George is a good genre novelist and has done gobs of research, but she does not show us the mind of Henry as vividly as some of the great historians, like Antonia Fraser, or Alison Weir. Part of the problem, I think, is the gimmick of autobiography--Henry never sounds convincingly English. It is as if you went to see Anne of a Thousand Days, and instead of Richard Burton playing Henry, its Tom Hanks.

George does better with the character of Will Somers, whose critical comments intrude on Henry's "manuscript" from time to time. She also does a pretty fair job of explaining a long and complicated span of English history. Character development tends to be limited to Henry and his six wives and several mistresses, but that is part of the historical romance genre. The important men in Henry's life: Wolsey, More, Cromwell, Cranmer, come off as cardboard sticks. ( I would have loved to have seen more of the inscrutable Cranmer--now THERE'S a novel for you.)

I don't see how this book can warrant less than five stars. While it may not be the most historically accurate book written about English King Henry VIII, it is certainly entertaining, insightful, and interesting. Don't let the length discourage you; 900 pages were up before I knew it and I didn't want it to end. I became so used to Margaret George's diary-style of writing through Henry that I almost felt as if he were my friend.
The book, written all through Henry's point of view (with clever inserts from his fool, Will) greatly improved my knowledge of Tudor England. Also, it really helped me to see Henry's life through his own eyes. Through much research, Margaret George has delved into his very personality and managed to write about every event of any significance in his life. She also showed how each wife and divorce/beheading came with a different justification for Henry VIII. As I came to understand his personality more and more, there were many times I felt sympathy and sorrow for the English monarch.
I highly suggest that anyone who has any interest in this subject read the book!

Getting to love you, ....Okay, sorry about that. But basically it does describe how this book made me feel about Henry VIII, well, almost.

For all of my life I disliked Henry VIII by default. You know, the usual reasons...He had six wives, he beheaded two of them, he had mistresses, illegitemate children, etc. etc.

But, being a great fan of Margaret George I felt I needed to read this book. I was not disappointed. Another great historical novel by Ms. George. An extraordinary amount of research appears to have gone into this book, and Ms. George actually accomplishes to almost, _almost_, make you feel sorry for poor Henry, and successfully paints him in a more "human" light. My opinion of him has definitely changed.

Okay, so he should not have just thrown Katherine of Aragon away, simply because he fell for that whore Anne Boleyn, which resulted in a break with the Roman Catholic Church. But Katherine did start to become a real bore.
I can understand why he beheaded Anne. His public reasons (adultry) may have been questionable, but the witch thing? Back then you could never be too sure about those witches and what they could do. Off with her head!
And Jane, poor Jane, she truly loved him and he truly loved her. How tragic that she died so soon.
And then that Anne of Cleves! Wow, she must really have been a bow-wow, but then, who the hell marries a woman sight unseen? I don't care how distraught you are over the beheading of the witch. At least he was very fair in his separation of Anne of Cleves, and I think she got the better end of the deal, because by this time, Henry himself was no longer an Adonis either.
And then his foolish infatuation with that second hussy, Catherine Howard. How could he not have known? She also deserved to lose her head on the chopping block, no question about that. I mean, he's the KING for crying out loud!
And then the surprise marriage to Katherine Parr, dear Kate. Finally he gets lucky and marries someone nice who manages to stay alive in the process. But then of course, he dies. Ah well, such is the comedy of life.

The notes by Will Somers are great, although I almost wish there had been more of them. It would have been nice to see what Will and other subjects of the King were thinking about all these crazy goings on in Henry's head.

To sum it up, this was a very very good book. I am glad I read it and I am sure I will read it again soon. The descriptions of the characters and places are vivid and colorful, and the description of Henry's life is thorough and memorable.

Also, read Ms. George's other books, The Memoirs of Cleopatra and Mary Queen of Scotland and the Isles. Both are just as good. Don't let their size intimidate you! In the end you'll be glad they lasted as long as they did.

JB Priestly wrote a book about time ('Man and Time') and in it he referred to a WH Hudson novel called 'A Crystal Age'. His couple of paragraphs about 'A Crystal Age' stimulated my interest but nowhere could I find the novel he referred to. However, I did find 'Green Mansions' and I have read it several times. It is a beautiful novel with an undertone of darkness (is death the darkness that we all live with during the beauty of life?). Perhaps 'Green Mansions' disappointed me a little after triggering my romantic nerve. I did, however, keep exploring the writings of WH Hudson - 'Long Ago and Far Away', 'The Purple Land', 'Idle Days in Patagonia' and the wonderful 'A Shepherd's Life'.

On a recent trip to the States I visited a small specialist bookshop where it was suggested I might be able to get access to 'A Crystal Age' through abebooks.com. This was great advice. I have just finished reading 'A Crystal Age' and I concur with JB Priestley's assessment. 'A Crystal Age' is worth the effort of pursuing - it is a surprising first-person utopian novel in which Hudson's love of nature does not render him oblivious to the fact that there are downsides in all worlds - all imaginable worlds. Just like the dark shadows in 'Green Mansions'. The end of 'A Crystal Age' is so surprising - I believe very few readers would see what is coming - I certainly didn't as I rushed on towards it. There is a certain illogic to the ending, but there is also something that haunts me continuously. I hope the illogic has not been a contributing factor in this novel's failure to be reprinted. But why else has it not been picked up - I am sure there is a market.

'A Crystal Age' is a stronger less romantic novel than 'Green Mansions', but it is also exceptional for many reasons. I don't hesitate in recommending 'Green Mansions' but I also urge readers to pursue 'A Crystal Age' - it is only a matter of time before I will be re-reading it myself. As for publishers who are looking for books from the past to reprint - give 'A Crystal Age' a look.

I read the Classic Comic version of this book many times when I was a kid. I've only now just read the original and found it's haunting beauty lingered in my mind for the last 2 weeks. The description of Abels mental travails at the end of the book is a particularly memorable and inspired.

My mother having read this book sometime before I was born in the 50's, was so moved that she named me after Rima. When I was 12 I read it for the first time, and after moving many times the book was lost. I have always wanted to re-read it as an adult feeling that there was quite a bit more I would appreciate now. I am delighted to have located this novel, and will be thrilled not to have to explain to my friends once more where my name originated. I will just loan them the book!

First off, I must admit that I thoroughly enjoyed Part I and absolutely adored Henry V. Having said that, I found Part II to be enjoyable, yet perhaps leaving something to be desired - like more action. Falstaff and Prince Hal both come off as somewhat disingenuous and calculating Machiavellian individuals. Disappointingly, Falstaff speaks poorly of Prince Hal while unwittingly in his midst. Conversely, The Prince of Wales prematurely takes the crown before his King Henry IV's death as well as disassociating himself with Falstaff after he is crowned King. These instances, along with others throughout the play, show the self-serving tendencies of both characters.

However, we can proudly witness the maturation of the young King from wild & dissolute young Prince Hal into one of the most revered monarchs in English history, King Henry V. Part II remains an intriguing play due to its paradoxical nature, yet unfortunately rarely acted out today. Now that I have read Henry IV(I&II) for the first time, I gladly move on to one of my personal favorites, Henry V. I recommend both parts(Folger editions) for all Shakespeare enthusiasts - they have given me greater insight into the young Henry V - when he was more concerned with downing a pint of ale rather than downing the French at Agincourt.

2 Magnificent Quotes from Henry IV Part II -
"Uneasy lies the head that wears a crown." - King Henry IV
"He hath eaten me out of house and home." - Mistress Quickly

henry iv is misnamed since the play isn't really about king henry but about his son, prince hal, and his enemies, especially henry percy (aka 'hotspur') who is a rival to hal. hotspur is one of the leaders of the rebellion against the king and, at a tender age, is already an accomplished soldier. his story provides the drama of the play. hal, on the other hand, has fallen out of favor with the king, and is whiling away his days in the company of dissolute company, led by sir john falstaff, one of shakespeare's great characters. his adventures with sir john provide the comic relief. fortunately for the king, hal sheds his prodigal ways in time to save his father and his crown in the battle at shrewsbury, where, coincidentally, hal meets and slays his rival, hotspur.

this is one of shakespeare's best plays. the story of the rebellion is intriguing, and the adventures of hal and falstaff are laugh-out-loud hilarious. the culmination of the two stories in the final battle scene is wonderful. this is a fitting sequel to richard ii.

note that there are some historical inaccuracies and even outright inventions in this play. foremost is the character of falstaff who is pure invention (and genius). the story of hal's adventures stems from his reputation, enhanced by legend, as a playboy. falstaff was the perfect foil for a carousing prince. the biggest inaccuracy is hotspur's age. he was actually of the generation of henry iv, and not as young as he's depicted in the play. shakespeare made him younger to enhance, maybe even create, the rivalry with hal. there are other inaccuracies here, but better for the reader to consult 'shakespeare's kings', an excellent book by saccio that explains the history of the period and the discrepancies in the play.

The lengthy title for the 1598 printing was "The History of Henrie the Fourth, With the Battell at Shrewsburie, between the King and Lord Henry Percy, surnamed Henrie Hotspur of the North, with the humorous conceits of Sir John Falstaffe".

Surprisingly, Hal, Prince of Wales, (later Henry V) was not even mentioned in this verbose title although many would consider him to be the central character. This play is clearly the dramatization of a struggle for a kingdom, but it is equally the story of Hal's wild and reckless youthful adventures with Falstaff and other disreputable companions.

Shakespeare did not write his plays about English kings in chronological order, but these plays do have a historical unity. It is helpful (but not essential) to read the tetralogy Richard II, Henry IV Part 1 and 2, and Henry V in chronological order. Whatever route you take, I highly recommend buying a companion copy of Peter Saccio's "Shakespeare's English Kings", an engaging look at how Shakespeare revised history to achieve dramatic effect.

A wide selection of Henry IV editions are available, including older editions in used bookstores. I am familiar with a few and have personal favorites:

The New Folger Library Shakespeare is my first choice among the inexpensive editions of Henry IV. "New" replaces the prior version in use for 35 years. It uses "facing page" format with scene summaries, explanations for rare and archaic words and expressions, and Elizabethan drawings located on the left page; the Henry IV text is on the right. I particularly liked the section on "Reading Shakespeare's Language in Henry IV" and Alexander Legget's literary analysis (save this until you have read the play). The fascinating article "Historical Background: Sir John Falstaff and Sir John Oldcastle" adds a religious dimension to the play that I had not previously noted.

The Bedford Shakespeare Series provides an excellent study text (edited by Barbara Hodgdon) titled "The First Part of King Henry the Fourth". It is a little more expensive, is about 400 pages, and provides a broad range of source and context documentation. It would be excellent for an upper level course in Shakespeare. The context documentation is fascinating and informative; it ranges from the Holinshed Chronicles to Elizabethan writing on Civic Order to detailed cultural studies of London's diverse populous. Other chapters address the OldCastle controversy and the "Education of a Prince".

I also like the Norton Critical edition (edited by James Sanderson), "Henry the Fourth, Part 1", particularly for its extensive collection of literary criticism. The essays are divided into two parts: 1) the theme, characters, structure, and style of the play and 2) a wide variety of interpretation directed toward that roguish character, Sir John Falstaff.

Although much of Burr's analysis leaves a lot to be desired, this book is a must have for a first hand look at Kissinger's diplomatic legacy. There is still much information that has not been declassified and therefore _The Kissinger Transcripts_ presents only a partial picture at best, but Burr's compilation is well worth the effort to see Kissinger's many different diplomatic faces show themselves as he deals with different characters such as Mao, Brezhnev, Zhou Enlai, Gromyko, Deng Xiaoping and others. It is truly fascinating to examine the different rhetorical tactics employeed by Kissinger to suit his particular audience. Incidentally, this bit of genius appears to be lost upon Burr, and others too, who view these many Kissinger faces with a seeming lack of understanding and even think of it as somewhat contradictory. The guiding theme when examined as a whole, however, is that Kissinger worked toward the improvement of the position of the United States in the world power structure. There is no doubt that the opening of China, coupled with Kissinger's deft Middle East diplomacy, did just that. These transcripts shed some much needed light on the operations of perhaps the United States' greatest executor of foreign policy.

The lengths to which Kissinger went to recruit the Chinese on the American side in the Cold War are instructive to those who believe that America played its cards well on the international arena in the Cold War. Much of the story that William Burr has pieced together--quite admirably in my opinion--is sad reading from the American point of view. Less so, of course, from the Chinese perspective. At points, it is easy to forget which of the parties was the superpower, and which the third world nation rising from internal turmoil, economic collapse and a severely hostile international situation. It is particularly instructive to read this book in context of the question of dealing with China, a problem which America has grappled with fitfully over the past two decades. The roots of Chinese suspicion of "peaceful evolution" and "engagement" lie in their recollection of the avid wooing of China in the 1970s.

On a local note, for the Asian reader, Kissinger's views on dealing with the Indian subcontinent are also instructive, including his open willingness to pressurise India in the Bangladesh crisis. In general terms, the Nixon administration's bias was perceived in India, and has been one of the reasons for the difficult relationship between India and USA in the 1970s and early 1980s. This book only provides proof of that less-than-subtle 'tilt'.

This book is invaluable reference material to all students of international relations, even if it is used as a "how-not-to" manual. The only gripe is the shoddy proof reading, with typos and inconsistent romanisation of Chinese names. But that is a small price to pay for this excellent piece of research.

Buy this book, you won't regret it.

Individuals indeed can change the world, as evidenced by some of the transcripts in this excellent collection of original documents. William Burr has delivered an important record of the actions of the principle actors during the United States' shift from Kennan-inspired containment policy to balance-of-power politics.

Reaping the benefits of the Freedom of Information Act and declassification projects at the federal agencies responsible for U.S. foreign policy, Burr and his colleagues at the National Security Archive project at George Washington University have brought us the raw, unadulterated truths surrounding the diplomacy behind Nixon's detente with the Soviet Union and rapprochement with China. Gems such as the momentous first meeting of Nixon and Mao with Zhou Enlai and Kissinger in attendance cannot be missed.

Excellent primary source material with copious notes from Burr. A must-have for anyone interested in Kissinger and his relationships with Nixon, Mao and Brezhnev.

John Fielder is one of America's greatest living photographers, and he brings his love of the Colorado wilderness to this book. His re-shoots of Jacksons 19th century photographs are both beautiful and thought-provoking.... the photographs make it worthwhile.

On the other hand, the text is a different story. Reading a text-only version of this book, one might conclude that the title is a misprint, and that the book should really be called "Colorado 1970 - 2000." Fielder roamed across Colorado capturing the changes in places like Kremmling, Denver, and Ouray, but the text never tells us anything about these places, or why they changed, or why we should care. Instead we get chapters about oil shale and the Forest Service.

Ahem. If I wanted to read about the relationship between Forest Service bureaucrats and small Western towns, I would have bought a book called "The Relationship Between the Forest Service and Small Western Towns." My book is called "Colorado 1870 - 2000." That is what I want to read about.

It's true that oil shale schemes, government agencies, and others have played a role in shaping Colorado in the past 30 years. But before that there were events like the Silver Crash of 1893, the City Beautiful movement, the Depression, World War II, and Urban Renewal. You won't read about those in this book.

The pictures are beautiful, and the text is well-written (if misplaced and unwanted). Just don't expect to learn much about the places you are looking at- except that they are very pretty.

John Fielder has recreated photographs of Colorado that were taken 100 years ago by William Henry Jackson. It's fun to see the changes that have taken place over time. Some change is good, some bad. Fielder even went to the trouble of making sure that the same or similar items, such as trains, automobiles, even people, were in the images that he captured. It's an expensive book, but it's worth the money in my opinion.

Jackson - Fielder 1870 - 2000 is a comparison of photographs of Colorado, showing the changes that have occurred geographically and developmentally over the past century. William Henry Jackson took pictures at the end of the 19th century. John Fielder returned to the exact locations a hundred years later to capture the similarities and differences that have taken place. The book is fascinating and nostalgic not only to Coloradans, but to historians, geologists, environmentalists, as well as anyone who just loves to view the beautiful scenery of the Rocky Mountains and the surrounding foothills. I highly recommend this book for hours of enjoyment.

OK so it takes half the book to get to the story. In typical Henry James fashion you are completely prepared for the action. Unlike Thomas Hardy, whose surroundings tell us of the character of the person it surrounds, James wishes you to know the depth of his characters as seen through the eyes of others. This of course brings on many minor characters that just seem to disappear, but it is a view of a person as if the reader was on the other side of the mirror watching the story unfold. Yes, James is wordy, yes this is not a quick read, but Henry James has a mastery of language and story telling that is rare.
"The American" is a wonderful love story that ends as a real life love story might end. Do not expect roses and happily ever after, it is as much a story of an ancient social system as it is of the life of "our hero." And the thing that seems to get missed is that Henry James actually wrote this as a mystery, not a love story.
This is a novel to contemplate and read between the lines. Good verses Evil, Noveau vs Old Money, Right and Wrong, can literature get any better than that?

I have this friend who hates Henry James. I can't understand it. The style is dated, in that people dont write that way today, but as you get into the book you begin to enjoy the style, as well as the plot, characters, and French/American dual culture shock that still goes on today. (For an update on the theme, look at Le Divorce and Le Mariage by Diane Johnson). I couldn't wait to see what was going to happen to these characters and the description of Paris in the Second Empire were fascinating. If you watch the Masterpiece Theatre version without having read the book, you will be totally confused. They moved events out of sequence all over the place and after about ten minutes I shut off the tape and picked up the book. You have to know the whole story before you watch them throw characters and events at you in the first two scenes that only appear 2/3 of the way through the novel, after a foundation has been laid as to who they are and when and why things happened.

I couldnt recommend this more for a good read. The only caution I have is for readers who have never been to France. They may get an extremely negative impression of French people from many of the characters in this book. Go to Paris and you will find the city is wonderful, and so are the French people. These characters are not typical!! They belong to a certain class, and the book does take place 150 years ago. If this book doesnt get you hooked on James, I dont know what will. Try Washington Square and dont miss that movie, with Jennifer Jason Leigh, Albert Finney and Maggie Smith.

This book is long, but only because that's how James tells the story. It's like a soup that needs to boil all day, so it's kept on low, but when it's done, it's perfect. The book stays at the pace of "our hero" the American Christopher Newman. A smart, educated, rich, yet easy going, simple, and humane veteran of the Civil War and a self made tycoon, who goes to Europe to see the "treasures and entertain" himself.

He becomes entangled in what he thinks is a simple plan for matrimony, but is really truly a great deal larger and more treacherous and terrible than that.

We spend a lot of time in Newman's mind, paragraphs of character analaysis are sprung upon us, but nothing seems plodding or slow, nothing feels useless. By the end of the book we find that we think like the character and can only agree with what he does. We react to seemingly big plot twists and events as he does, without reaction, and a logical, common sense train of thought.

But don't misunderstand that. For a book that is so polite and the essence of "slow-reaction", it is heartwrenching and tragic. You will cry, you will wonder, and you will ask yourself questions. Colorful, lifelike, and exuberant characters fight for your attention and your emotions, and we are intensely endeared to them. Emotional scenes speckle the book and are just enough. And the fact that something terrible and evil exists in this story hangs over your head from the beginning. It's hard to guess what happens because James doesn't give us many clues, and the ending may come as a surprise to some people. And without us knowing it, James is comparing American culture to European culture (of the day), and this in of itself is fulfilling.

Indeed, James uses every page he has, without wasting any on detailed landscapes and useless banter. 2 pages from the end you have a wrenching heartache, but the last paragraph and page is utterly and supremely satisfying, and you walk away the way Newman walks away, at peace.

Question: Which edition of Robert's Rules is official? Aren't they all the same? Which one do professional parliamentarians refer to? Answer: The National Association of Parliamentarians, and the American Institute of Parliamentarians, only recognize one book as the current official parliamentary authority: Robert's Rules of Order Newly Revised [1990 edition, Scott, Foresman] Everything else is old, or a variation. The bible of parliamentary law, it is this edition that your bylaws probably mentions, not the 1876 original text, like some publishers are selling. Be forewarned, it is literally a book of rules, and not easily absorbed. -- You may have to learn what's practical for your average meeting by a simpler beginners book. If you want simple, go elsewhere; if you want complete, this is it. No other book is ADDING things to Henry M. Robert's original classifications & rankings (it's 700+ pages!), only shortening & simplifying & rephrasing.

As a lawyer, when I am asked about proper procedure at a meeting, my first question is: What rules do you use? Is there an applicable statute, or bylaws or rules that the organization has adopted? Nine times out of ten, the answer is: "Robert's Rules of Order." Robert's is the most widely used parliamentary manual in the United States.

General Henry M. Robert published the original "Robert's Rules" in 1875 and 1876 and, since the copyright on that edition (and the next few editions) has long since expired, there are numerous unofficial editions on the market. The third edition, published in 1893, is still marketed in paperback by more than one publisher as the "original" Robert's Rules. With the copyright expired, even the name "Robert's" has passed into the public domain, and many imitators have slapped the name "Robert's" on books of parliamentary procedure that bear minimal relation to General Robert's work (much as many dictionaries claim the name "Webster's" without any connection to Noah Webster or the Merriam-Webster brand that carries on his work). This book is the real Robert's, composed by an editorial board appointed by General Robert's heirs (including his descendants Sarah and Henry III, both eminent parliamentarians). Now in its tenth edition, published in 2000, this book "supersedes all previous editions and is intended automatically become the parliamentary authority in organizations whose bylaws prescribe 'Robert's Rules of Order' . . . or the like, without specifying a particular edition."

Robert's is not necessarily the best parliamentary manual on the market: "Modern Parliamentary Procedure" by Ray Keesey is far more logical and user-friendly, and "The Standard Code of Parliamentary Procedure" by Alice Sturgis (commissioned by the American Institute of Parliamentarians as a contemporary alternative to Robert's) is more readable and more rooted in modern practice. But no other book has gained as much as a toehold in Robert's dominance in the market. If you are interested in parliamentary procedure, or figuring out how most organizations work in the twenty-first-century United States, this Robert's is indispensable.

Recently having begun to serve on a board, I've found Robert's manual--a mainstay of legislatures, clubs and other organizations around the world since 1893--to be invaluable. Its comprehensive coverage of motions, rules, procedures and all contingencies has served me well simply in understanding "what's going on"; it has also enabled me to become an active, not a passive, member. Knowledge is power, in this context or in any other. There is no question that members of your organization who have knowledge of the rules of the meeting have the power to control the meeting. If you do not want to get stepped on, this book is essential.

There are several editions of this work. I advise buyers to get one that (a) has a durable binding, able to withstand the rigors of frequent use; (b) has a good introduction or supplementary guide by its editor, as Robert's original manual is, as other reviews here have noted, complex and intimidating to those who are new to it.

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.

"Cowards die many times before their deaths. The valiant never taste of death but once." - Caesar

Just one of the many brilliant quotes from this powerful and enduring tragedy, which happens to be amongst my very favorite Shakespeare. How could anyone not enjoy Marc Antony swaying the weak-minded and feeble-minded plebians with his vibrant and rousing speech? Julius Caesar is unquestionably quintessential Shakespeare, a monumental work that perhaps is surpassed only by Hamlet and rivaled by Othello, Macbeth, Romeo & Juliet, & King Lear.

Julius Caesar teaches us about the dangers and pitfalls of ambition, jealousy, power, as well as the sacrifice for the greater good - even if it is another's life. Amongst the bood-thirsty traiotors, only Brutus genuinely believes in the assassination of Caesar for the greater good of the Republic. Julius Caesar galvanizes the brain and awakens the spirit from within with scenes such as when Marc Antony proclaims, "Cry Havoc and let slip the dogs of war."
Countless amounts of quotes and passages throughout the play rank among my favorite Shakespeare. Needless to say, this book should be on the bookshelf of any and all with any semblance of intellect and enough cultivation to appreciate such superb literature.

The modern perspective following the text enlightens and should be read by anyone seeking more knowledge about this amazing tragedy and time in history. An irrepressible 5 stars.

Julius Caesar is probably one of the better plays written by Shakespeare. This play if full of intrigue, action, betrayal, and emotion. This play is not very long (5 acts), which makes it a quick and exciting read. The characters are built nicely, and what is nice about this version of the book, is that it is easy to read, and any words that may be unfamiliar are defined on the opposite page, making it easy to look them up, and understand Shakespeare's difficult writing style. This is definately a play worth checking out. It's a fun read, and with plenty of helpful tools built in to help along the way.

Shakespeare gives a whole new face to history, transforming Caesar's assassination into a conspiracy, in which the conspirators have some reluctancy to join in. Brutus, for example, is deeply tormented, as Caesar is his friend and trusts him, but he is manipulated by Cassius, who makes Brutus believe that his duty to the people of Rome should be greater than friendship, and that the Romans want Caesar dead. The book is an exploration into the human psyche, and changing characters. I find it interesting that, though the play is called "Julius Caesar", its central character is Brutus, who has to deal with the guilt of betrayal versus what he feels is a duty to the people versus his love of Caesar. Intense, breathtaking, dramatic.