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Includes Malone, Hazlitt, Dowden, Swinburne, Pater, Brandes, Chambers, Masefield and Frank Harris.
Vols. for 1898-1968 include a directory of publishers.
Like most of Shakespeare’s history plays, King John presents a struggle for the English crown. The struggle this time, however, is strikingly cold-blooded and brutal. John, the younger brother of the late Richard I, is the king, and a savage one. His opponent is a boy, his nephew Arthur, supported by the King of France and the Duke of Austria. After Arthur falls into John’s hands, John plots to torture him. Arthur’s capture gives Louis, the Dauphin of France, the opportunity to lay claim to John’s crown. John’s nobles support Louis, but he schemes to betray them. The play finds its hero in another figure: the Bastard, Sir Richard Plantagenet, an illegitimate son of Richard I. Although he has an appetite for war, he also has a strong conscience and speaks with trenchant irony. The authoritative edition of King John from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: -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 the play’s famous lines and phrases -An introduction to reading Shakespeare’s language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library’s vast holdings of rare books -An annotated guide to further reading Essay by Deborah T. Curren-Aquino 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.
King John is quite problematic. As the ending is not a satisfying resolution, the audience is left without a sense of completion. It appears everything is left up in the air, unlike the satisfying endings of Lear, Macbeth, or even Hamlet in all of which it is clear that the world will go on despite the tragic events which transpired before. The ending rushes not to closure, as some have suggested, but to another threshold, thus reinforcing the plays overall fluid, mutable temper (Curren-Aquino, 266).