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Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
The concepts of good and evil, which can be understood and defined differently, are two broad and sapid concepts because of its diverse interpretations. The two abstract notions have been discussed throughout the centuries since the human existence and continue to be a dispute today. However, the meaning of good and evil was especially interesting in the middle Ages and Renaissance that will be introduced in the first part of this thesis. It will present the different origins of good and evil and examine how variously these concepts were perceived in the middle Ages and Renaissance. It should be pointed out that there was a great contrast in defining of good and evil in both centuries. Additionally, the second part of the thesis will explore the problems of those concepts in terms of King Lear and Macbeth. It will deal with the problems of goodness of Cordelia and Banquo, evilness of Edmund and Lady Macbeth and badness of Lear and Macbeth. It will also identify how the characters turn to good, bad or evil side, whether they become creator or victims of evil, and finally reveal who of them can be called good, bad or evil person. Finally, the third part of the thesis will present the interpretation of the final scenes where both tragedies end with the coronation of the new king. It will explore the conflict of both forces and reveal what kind of force can actually win the struggle between good and evil in both plays. It will also deal with the problem of ambivalent depiction of the characters and examine the question of what is actually good and evil and how to define it in Shakespeare ́s plays. So, the aim of the thesis is to explore the problems of the concepts of good and evil in terms of the tragedies King Lear and Macbeth and to identify to what extent the characters can be seen as good and evil.
Shakespeare's tragedies reinterpreted through the figures and motifs of medieval romance.
This innovative work argues that Shakespeare was as great a philosopher as he was a poet, and that his greatness as a poet derived even more from his power as a thinker than from his genius for linguistic expression. Accordingly, Leon Craig's interpretation of the plays - focusing primarily on Macbeth and King Lear, but including extensive comments on Othello, The Winter's Tale, and Measure for Measure - are intended to demonstrate what can be gained from reading Shakespeare 'philosophically.' Shakespeare, Craig argues, had a persistent fascination with the relationship between politics and philosophy, and even more precisely, with the idea of a philosophical ruler. Macbeth and King Lear are given detailed exposition for the special light they cast on tensions between philosophy and politics, knowledge and power. They show how the pursuit of an adequate understanding of certain practical issues - transient yet recurring - necessarily leads to considerations that far transcend the particular circumstances in which these practical problems arise. Metaphysics, cosmology, and man's confrontation with nature, were made dramatically manifest by Shakespeare to challenge and promote philosophic activity among his audience and readers. Unconventional in its approach, but working within the tradition of such critics as Allan Bloom and Harry Jaffa, Craig's book makes a substantial contribution to understanding the general principles of Shakespearean drama.
The authoritative edition of Romeo and Juliet, Hamlet, and Macbeth from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers. The star-crossed lovers of Romeo and Juliet, the madness and vengeance of Hamlet, and the corrupting lust for power of Macbeth—this collection of three of Shakespeare’s greatest tragedies is based on the acclaimed individual Folger editions of the plays. This edition includes: -Freshly edited text based on the best early printed version of the play -Full explanatory notes -Scene-by-scene plot summaries The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
Contains Hamlet, Othello, King Lear and Macbeth. Copyright © Libri GmbH. All rights reserved.
Murder Mayhem and Madness--Collected here are five of William Shakespeare's greatest tragedies Romeo and Juliet Hamlet Macbeth Othello and King Lear. These are the plays that made Shakespeare's reputation. Murder deceit treachery and madness play out on the grand stage. Stories for the ages!Tomorrow and tomorrow and tomorrowCreeps in this petty pace from day to dayTo the last syllable of recorded time;And all our yesterdays have lighted foolsThe way to dusty death. Out out brief candle!Life's but a walking shadow a poor playerThat struts and frets his hour upon the stageAnd then is heard no more. It is a taleTold by an idiot full of sound and fury Signifying nothing.
"An intimate portrait of one of Shakespeare's most inspired moments: the year of King Lear, Macbeth and Antony and Cleopatra. 1606, while a very good year for Shakespeare, is a fraught one for England. Plague returns. There is surprising resistance to the new king's desire to turn England and Scotland into a united Britain. And fear and uncertainty sweep the land and expose deep divisions in the aftermath of the failed terrorist attack that came to be known as the Gunpowder Plot. James Shapiro deftly demonstrates how these extraordinary plays responded to the tumultuous events of this year, events that in unexpected ways touched upon Shakespeare's own life ... [and] profoundly changes and enriches our experience of his plays--Publisher's description.