Titus Andronicus is the earliest tragedy and the earliest Roman play attributed to Shakespeare. Titus, a model Roman, has led 21 of his 25 sons to death in Rome's wars; he stabs another son to death for what he views as disloyalty to Rome. Yet Rome has become "a wilderness of tigers." After a death sentence is imposed on two of his three remaining sons, and his daughter is raped and mutilated, Titus turns his loyalty toward his family. Aaron the Moor, a magnificent villain and the empress's secret lover, makes a similar transition. After the empress bears him a child, Aaron devotes himself to preserving the baby. Retaining his thirst for evil, he shows great tenderness to his little family—a tenderness that also characterizes Titus before the terrifying conclusion. The authoritative edition of Titus Andronicus from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, is now available as an eBook. Features include: · The exact text of the printed book for easy cross-reference · Hundreds of hypertext links for instant navigation · Freshly edited text based on the best early printed version of the play · Full explanatory notes conveniently placed on pages facing the text of the play · Scene-by-scene plot summaries · A key to famous lines and phrases · An introduction to reading Shakespeare’s language · Illustrations from the Folger Shakespeare Library’s vast holdings of rare books · An essay by a leading Shakespeare scholar providing a modern perspective on the play
Seemingly the most fantastical of television series, Buffy the Vampire Slayer proves on close examination to be firmly rooted in real-world concerns. In this collection of critical essays, 15 authors from several disciplines, including literature, the visual arts, theatre, philosophy, and political science, study ways in which Buffy illuminates viewers’ real-life experiences. Topics include the series’ complicated portrayals of the relationship between soul, morality, and identity; whether Buffy can truly be described as a feminist icon; stereotypes of Native Americans in the episode “Pangs”; the role of signs in the interaction between Buffy’s aesthetics and audience; and the problem of power and underhanded politics in the Buffy universe.
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...as his own" (Dowden). For the references to the poet's age.in the Sonnets, see p. 41 above. 3. Furrows. Cf. Sonn. 2 above, and Rich. III. i. 3. 229. 4. Expiate. Bring to an end. Cf. Rich. III. iii. 3. 23: "Make haste; the hour of death is expiate." Here, as there, Steevens conjectures "expirate," which White and Hudson adopt. Surely there is no need of coining a word to replace one which S. twice uses and which can be plausibly explained. Malone quotes Chapman's Byron's Conspiracie, in which an old courtier speaks of himself as " A poor and expiate humour of the court." XXIII 1. Vnperfect. Used by S. only here; but unperfectness occurs in Oth. ii. 3. 298. Imperfect we find in Sonn. 43. 11 and elsewhere, and imperfection six times in the plays. On the present passage, cf. Cor. v. 3. 40: --"Like a dull actor now, I have forgot my part, and I am out, Even to a full disgrace." 2. Besides. For the prepositional use, cf. T. N, iv. 2. 92: "Alas, sir, how fell you besides your five wits?" 3. Replete with too much rage. The rage overcoming self-control. 5. For fear of trust. Fearing to trust myself. Schmidt makes it = " doubting of being trusted;" but the context clearly confirms the explanation I have given. Dowden calls attention to the construction of the first eight lines, 5, 6 referring to 1, 2, and 7, 8, to 3. 4 6. Ceremony. Hudson says that the word "is here used as a trisyllable, as if spelt cer'mony;" but how he would scan the verse I cannot imagine. The word is clearly a quadrisyllable, as almost always in S. 9. Books. Sewell reads " looks;" but the old reading is supported by 13 below. The books, as Dowden remarks, are probably the manuscript books in which the poet writes his sonnets. 12. That tongue. Probably = any tongue, however eloquent, ...
Originally published in 1995. In three parts – introduction, criticism and reviews – this volume examines the goriest of Shakespeare’s works. The editor’s exhaustive introduction runs through the pattern of changing scholarship and commentary, introducing the key interests in the play, from its authorship to its language, rhetoric and performance. Early commentaries focused on arguing about whether the play was truly Shakespeare’s. A selection of the most important of these are included here followed by later investigations looking at myriad topics and characters – revenge, violence, race, Aaron, women, tragedy and Tamora. The large section of reviews of stage performances, arranged chronologically, ranges from 1857 to 1990. Two final pieces interestingly survey stage history of Titus in Japan and in Germany.
Fifteen outstanding scholars of theater, music, art, and literature explore the interrelations of eighteenth-century British theater and the various art forms that it incorporated into itself. The essays examine the theater's increasing reliance on set designers, costumers, musicians and composers, poets, dramatists, and librettists, focusing on the ways in which this dependence fundamentally changed the theater. Illustrated.
William Shakespeare,Thomas L. Berger,Barbara A. Mowat
William Shakespeare: Der Widerspenstigen Zähmung Lesefreundlicher Großdruck in 16-pt-Schrift Edition Holzinger. Großformat, 216 x 279 mm Berliner Ausgabe, 2015 Vollständiger, durchgesehener Neusatz bearbeitet und eingerichtet von Michael Holzinger Erstmals ins Deutsche übersetzt von Johann Joachim Eschenburg (1775). Die vorliegende Übersetzung stammt von Wolf Graf Baudissin. Erstdruck in: Shakspeare's dramatische Werke. Übersetzt von August Wilhelm Schlegel. Ergänzt und erläutert von Ludwig Tieck, Bd. 6, Berlin (Georg Andreas Reimer) 1831. Textgrundlage ist die Ausgabe: William Shakespeare: Sämtliche Werke in vier Bänden. Band 1, Herausgegeben von Anselm Schlösser. Berlin: Aufbau, 1975. Herausgeber der Reihe: Michael Holzinger Reihengestaltung: Viktor Harvion Umschlaggestaltung unter Verwendung des Bildes: Vermutetes Gemälde von William Shakespeare Gesetzt aus Minion Pro, 16 pt.
Titus Andronicus was the young Shakespeare's audacious, sporadically brilliant experiment in sensational tragedy. Its horrors are notorious, but its powerful poetry of grief is the work of a true tragic poet. Introducing this edition, E.M. Waith provides a fresh view of the play in its historical context as well as an original discussion of the famous `Peacham' drawing - the only surviving contemporary Shakespeare illustration. An illustrated account of performances, notably Peter Brook's production with Oliver as Titus, leads to an assessment of the play's qualities in the light of its critical reception. The eighteenth-century version of the play's probable source is given in one of the appendices.
William Shakespeare: Lucretia Erstmals ins Deutsche übersetzt von Heinrich Christoph Albrecht (1783) Die vorliegende Übersetzung stammt von Friedrich Bodenstedt. Vollständige Neuausgabe. Herausgegeben von Karl-Maria Guth. Berlin 2014. Textgrundlage ist die Ausgabe: William Shakespeare: Sämtliche Werke in vier Bänden. Band 2, Herausgegeben von Anselm Schlösser. Berlin: Aufbau, 1975. Die Paginierung obiger Ausgabe wird in dieser Neuausgabe als Marginalie zeilengenau mitgeführt. Umschlaggestaltung von Thomas Schultz-Overhage unter Verwendung des Bildes: Tizian, Tarquinius und Lucretia, 1571. Gesetzt aus Minion Pro, 11 pt.
Author: William Shakespeare,William Proctor Williams,Peter Holland
Publisher: Sourcebooks, Inc.
This new addition to the Sourcebooks Shakespeare series includes the play, essays by renowned scholars, a complete glossary, production photos, and an audio CD of famous performances through the years.