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Sir Arthur Quiller-Couch (1863-1944), who often published under the pen-name of 'Q', was one of the giants of early twentieth-century literature and literary criticism. A novelist and poet who was also a Professor of English, he helped to form the literary tastes of generations of literary students and scholars who came after him. The freshness, enthusiasm and intellectual insight of his work is still evident in his writings nearly a century on. Cambridge University Press is delighted to reissue some of his key texts in this new edition. Shakespeare's Workmanship, first published in 1918, offers detailed readings of Macbeth, A Midsummer Night's Dream, The Merchant of Venice, As You Like It, Hamlet, Pericles and King Henry VIII, Cymbeline, The Winter's Tale and The Tempest, with an account of the story of Falstaff, and a general description of the features of Shakespeare's later plays.
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
Shakespeare's Late Work is a detailed reading of the plays written at the end of Shakespeare's career, centring on Pericles, Cymbeline, The Winter's Tale, and The Tempest. Unlike many previous studies it considers all the late work, including Henry VIII, The Two Noble Kinsmen, the revised Folio version of King Lear, and even what can be ascertained about the lost Cardenio. From this broadened canon emerge signs of a distinct identity for the late work. Lyne explores how Shakespeare sets great store in grand principles - faith in God, love of family, reverence for monarchs, and belief in theatrical representations of truth. However, there is also a ubiquitous and structuring irony whereby such principles are questioned and doubted. Audiences and readers are left with a difficult but empowering decision whether to believe, or to question, or to accommodate both faith and scepticism. Alongside this interest in the new and characteristically 'late' qualities of this phase in Shakespeare's career, Shakespeare's Late Work puts it in a wider cultural context. A chapter on the collaborations and broader dramatic relationships with John Fletcher and Thomas Middleton illuminates how Shakespeare's canon interacts with other writing of its time. A chapter on how the late work revisits and reconsiders themes from earlier plays shows that continuity needs to be remembered alongside novelty. Overall this is an introduction to the key works of this period which advances a new reading of them. They emerge as fascinating and dazzling explorations of their potential and their limitations.
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Excerpt from Notes on Shakespeare S Workmanship The following papers were first written as Lectures and so spoken before an audience in the University of Cambridge. Being shy of repeating myself too often in print in the guise of a lecturer, I have turned my second persons plural into third persons singular. But I am sensible that the change will only commend itself by help of the reader's good-will in remembering all the while that these are familiar discourses rather than learned enquiries. They seek to discover, in some of Shakespeare's plays, just what he was trying to do as a playwright. This has always seemed to me a sensible way of approaching him, and one worth reverting to from time to time. For it is no disparagement to the erudition and scholarship that have so piously been heaped about Shakespeare to say that we shall sometimes find it salutary to disengage our minds from it all, and recollect that the poet was a playwright. I must thank my brother-in-law, Mr. John Hay Lobban, for reading these pages in proof and making an index for me. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.