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A selection of verses by William Shakespeare, which the author believes readers can derive meaning from without having background information from the work in which they originally appeared.
The New York Times Best Seller Experience the Star Wars saga reimagined as an Elizabethan drama penned by William Shakespeare himself, complete with authentic meter and verse, and theatrical monologues and dialogue by everyone from Darth Vader to R2D2. Return once more to a galaxy far, far away with this sublime retelling of George Lucas’s epic Star Wars in the style of the immortal Bard of Avon. The saga of a wise (Jedi) knight and an evil (Sith) lord, of a beautiful princess held captive and a young hero coming of age, Star Wars abounds with all the valor and villainy of Shakespeare’s greatest plays. Authentic meter, stage directions, reimagined movie scenes and dialogue, and hidden Easter eggs throughout will entertain and impress fans of Star Wars and Shakespeare alike. Every scene and character from the film appears in the play, along with twenty woodcut-style illustrations that depict an Elizabethan version of the Star Wars galaxy. Zounds! This is the book you’re looking for.
From the introduction by Joyce Carol Oates: Between them, our great visionary poets of the American nineteenth century, Emily Dickinson and Walt Whitman, have come to represent the extreme, idiosyncratic poles of the American psyche. . . . Dickinson never shied away from the great subjects of human suffering, loss, death, even madness, but her perspective was intensely private; like Rainer Maria Rilke and Gerard Manley Hopkins, she is the great poet of inwardness, of the indefinable region of the soul in which we are, in a sense, all alone.
With its compact but inclusive survey of more than four centuries of poetry, Blank Verse is filled with practical advice for poets of our own day who may wish to attempt the form or enhance their mastery of it. Enriched with numerous examples, Shaw's discussions of verse technique are lively and accessible, inviting to all.
The power of Shakespeare's complex language - his linguistic playfulness, poetic diction and dramatic dialogue - inspires and challenges students, teachers, actors and theatre-goers across the globe. It has iconic status and enormous resonance, even as language change and the distance of time render it more opaque and difficult. The Cambridge Companion to Shakespeare's Language provides important contexts for understanding Shakespeare's experiments with language and offers accessible approaches to engaging with it directly and pleasurably. Incorporating both practical analysis and exemplary readings of Shakespearean passages, it covers elements of style, metre, speech action and dialogue; examines the shaping contexts of rhetorical education and social language; test-drives newly available digital methodologies and technologies; and considers Shakespeare's language in relation to performance, translation and popular culture. The Companion explains the present state of understanding while identifying opportunities for fresh discovery, leaving students equipped to ask productive questions and try out innovative methods.
Is Shakespeare English, British, neither or both? Addressing from various angles the relation of the figure of the national poet/dramatist to constructions of England and Englishness this collection of essays probes the complex issues raised by this question, first through explorations of his plays, principally though not exclusively the histories (Part One), then through discussion of a range of subsequent appropriations and reorientations of Shakespeare and 'his' England (Part Two). If Shakespeare has been taken to stand for Britain as well as England, as if the two were interchangeable, this double identity has come under increasing strain with the break-up - or shake-up - of Britain through devolution and the end of Empire. Essays in Part One examine how the fissure between English and British identities is probed in Shakespeare's own work, which straddles a vital juncture when an England newly independent from Rome was negotiating its place as part of an emerging British state and empire. Essays in Part Two then explore the vexed relations of 'Shakespeare' to constructions of authorial identity as well as national, class, gender and ethnic identities. At this crucial historical moment, between the restless interrogations of the tercentenary celebrations of the Union of Scotland and England in 2007 and the quatercentenary celebrations of the death of the bard in 2016, amid an increasing clamour for a separate English parliament, when the end of Britain is being foretold and when flags and feelings are running high, this collection has a topicality that makes it of interest not only to students and scholars of Shakespeare studies and Renaissance literature, but to readers inside and outside the academy interested in the drama of national identities in a time of transition.
“[Ron Rosenbaum] is one of the most original journalists and writers of our time.” –David Remnick In The Shakespeare Wars, Ron Rosenbaum gives readers an unforgettable way of rethinking the greatest works of the human imagination. As he did in his groundbreaking Explaining Hitler, he shakes up much that we thought we understood about a vital subject and renews our sense of excitement and urgency. He gives us a Shakespeare book like no other. Rather than raking over worn-out fragments of biography, Rosenbaum focuses on cutting-edge controversies about the true source of Shakespeare’s enchantment and illumination–the astonishing language itself. How best to unlock the secrets of its spell? With quicksilver wit and provocative insight, Rosenbaum takes readers into the midst of fierce battles among the most brilliant Shakespearean scholars and directors over just how to delve deeper into the Shakespearean experience–deeper into the mind of Shakespeare. Was Shakespeare the one-draft wonder of Shakespeare in Love? Or was he rather–as an embattled faction of textual scholars now argues–a different kind of writer entirely: a conscientious reviser of his greatest plays? Must we then revise our way of reading, staging, and interpreting such works as Hamlet and King Lear? Rosenbaum pursues key partisans in these debates from the high tables of Oxford to a Krispy Kreme doughnut shop in a strip mall in the Deep South. He makes ostensibly arcane textual scholarship intensely seductive–and sometimes even explicitly sexual. At an academic “Pleasure Seminar” in Bermuda, for instance, he examines one scholar’s quest to find an orgasm in Romeo and Juliet. Rosenbaum shows us great directors as Shakespearean scholars in their own right: We hear Peter Brook–perhaps the most influential Shakespearean director of the past century–disclose his quest for a “secret play” hidden within the Bard’s comedies and dramas. We listen to Sir Peter Hall, founder of the Royal Shakespeare Company, as he launches into an impassioned, table-pounding fury while discussing how the means of unleashing the full intensity of Shakespeare’s language has been lost–and how to restore it. Rosenbaum’s hilarious inside account of “the Great Shakespeare ‘Funeral Elegy’ Fiasco,” a man-versus-computer clash, illustrates the iconic struggle to define what is and isn’t “Shakespearean.” And he demonstrates the way Shakespearean scholars such as Harold Bloom can become great Shakespearean characters in their own right. The Shakespeare Wars offers a thrilling opportunity to engage with Shakespeare’s work at its deepest levels. Like Explaining Hitler, this book is destined to revolutionize the way we think about one of the overwhelming obsessions of our time.
This Reader's Guide charts the reception history of Ted Hughes' poetry from his first to last published collection, culminating in posthumous tributes and assessments of his lifetime achievement. Sandie Byrne explores the criticism relating to key issues such as nature, myth, the Laureateship, and Hughes' relationship with Sylvia Plath.