The Winter's Tale

Cover
Classic Books Company, 2001 - 500 Seiten
"I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel and A. R. Braunmuller who understand that these are plays for performance as well as great texts for contemplation." (Patrick Stewart)

The distinguished Pelican Shakespeare series, which has sold more than four million copies, is now completely revised and repackaged.

Each volume features:
* Authoritative, reliable texts
* High quality introductions and notes
* New, more readable trade trim size
* An essay on the theatrical world of Shakespeare and essays on Shakespeare's life and the selection of texts

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Häufige Begriffe und Wortgruppen

Beliebte Passagen

Seite 38 - This is the excellent foppery of the world, that, when we are sick in fortune, often the surfeit of our own behaviour, we make guilty of our disasters the sun, the moon, and the stars...
Seite 380 - ... gave him such delight that he was content to purchase it by the sacrifice of reason, propriety, and truth. A quibble was to him the fatal Cleopatra for which he lost the world and was content to lose it. It will be thought strange...
Seite 72 - And, stretched out all the chimney's length, Basks at the fire his hairy strength ; And crop-full out of doors he flings, Ere the first cock his matin rings. Thus done the tales, to bed they creep, By whispering winds soon lulled asleep.
Seite 185 - I told you what would come of this : beseech you, Of your own state take care : this dream of mine, — Being now awake, I'll queen it no inch farther, But milk my ewes and weep.
Seite 64 - Canst thou bind the sweet influences of the Pleiades, Or loose the bands of Orion? Canst thou bring forth Mazzaroth in his season? Or canst thou guide Arcturus with his sons?
Seite 381 - The objection arising from the impossibility of passing the first hour at Alexandria, and the next at Home, supposes that when the play opens the spectator really imagines himself at Alexandria, and believes that his walk to the theatre has been a voyage to Egypt, and that he lives in the days of Antony and Cleopatra. Surely he that imagines this, may imagine more.
Seite 380 - Upon the back of that comes out a hideous monster with fire and smoke, and then the miserable beholders are bound to take it for a cave; while, in the...
Seite 381 - The truth is. that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players < Co/2 3 1 > . They come to hear a certain number of lines recited with just gesture and elegant modulation.
Seite 379 - Lord Cromwell,' 'The Puritan," and ' London Prodigal,' cannot be admitted as his. And I should conjecture of some of the others (particularly ' Love's Labour's Lost,' ' The "Winter's Tale,' and ' Titus Andronicus') that only some characters, single scenes, or perhaps a few particular passages, were of his hand.

Autoren-Profil (2001)

William Shakespeare, 1564 - 1616 Although there are many myths and mysteries surrounding William Shakespeare, a great deal is actually known about his life. He was born in Stratford-Upon-Avon, son of John Shakespeare, a prosperous merchant and local politician and Mary Arden, who had the wealth to send their oldest son to Stratford Grammar School. At 18, Shakespeare married Anne Hathaway, the 27-year-old daughter of a local farmer, and they had their first daughter six months later. He probably developed an interest in theatre by watching plays performed by traveling players in Stratford while still in his youth. Some time before 1592, he left his family to take up residence in London, where he began acting and writing plays and poetry. By 1594 Shakespeare had become a member and part owner of an acting company called The Lord Chamberlain's Men, where he soon became the company's principal playwright. His plays enjoyed great popularity and high critical acclaim in the newly built Globe Theatre. It was through his popularity that the troupe gained the attention of the new king, James I, who appointed them the King's Players in 1603. Before retiring to Stratford in 1613, after the Globe burned down, he wrote more than three dozen plays (that we are sure of) and more than 150 sonnets. He was celebrated by Ben Jonson, one of the leading playwrights of the day, as a writer who would be "not for an age, but for all time," a prediction that has proved to be true. Today, Shakespeare towers over all other English writers and has few rivals in any language. His genius and creativity continue to astound scholars, and his plays continue to delight audiences. Many have served as the basis for operas, ballets, musical compositions, and films. While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. At the height of his career, he wrote an average of two plays a year as well as dozens of poems, songs, and possibly even verses for tombstones and heraldic shields, all while he continued to act in the plays performed by the Lord Chamberlain's Men. This staggering output is even more impressive when one considers its variety. Except for the English history plays, he never wrote the same kind of play twice. He seems to have had a good deal of fun in trying his hand at every kind of play. Shakespeare wrote 154 sonnets, all published on 1609, most of which were dedicated to his patron Henry Wriothsley, The Earl of Southhampton. He also wrote 13 comedies, 13 histories, 6 tragedies, and 4 tragecomedies. He died at Stratford-upon-Avon April 23, 1616, and was buried two days later on the grounds of Holy Trinity Church in Stratford. His cause of death was unknown, but it is surmised that he knew he was dying.

Bibliografische Informationen