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From Harold Bloom, one of the greatest Shakespeare scholars of our time comes “a timely reminder of the power and possibility of words [and] the last love letter to the shaping spirit of Bloom’s imagination” (front page, The New York Times Book Review) and an intimate, wise, deeply compelling portrait of Falstaff—Shakespeare’s greatest enduring and complex comedic characters. Falstaff is both a comic and tragic central protagonist in Shakespeare’s three Henry plays: Henry IV, Parts One and Two, and Henry V. He is companion to Prince Hal (the future Henry V), who loves him, goads, him, teases him, indulges his vast appetites, and commits all sorts of mischief with him—some innocent, some cruel. Falstaff can be lewd, funny, careless of others, a bad creditor, an unreliable friend, and in the end, devastatingly reckless in his presumption of loyalty from the new King. Award-winning author and esteemed professor Harold Bloom writes about Falstaff with the deepest compassion and sympathy and also with unerring wisdom. He uses the relationship between Falstaff and Hal to explore the devastation of severed bonds and the heartbreak of betrayal. Just as we encounter one type of Anna Karenina or Jay Gatsby when we are young adults and another when we are middle-aged, Bloom writes about his own shifting understanding of Falstaff over the course of his lifetime. Ultimately we come away with a deeper appreciation of this profoundly complex character, and this “poignant work” (Publishers Weekly, starred review) as a whole becomes an extraordinarily moving argument for literature as a path to and a measure of our humanity. Bloom is mesmerizing in the classroom, wrestling with the often tragic choices Shakespeare’s characters make. “In this first of five books about Shakespearean personalities, Bloom brings erudition and boundless enthusiasm” (Kirkus Reviews, starred review) and his exhilarating Falstaff invites us to look at a character as a flawed human who might live in our world.
The Quarto text of Henry V is of unique importance. It is the first and probably the only text of a Shakespeare play which provides the playscript corresponding to the version that was actually performed by Shakespeare's own company. It has the authority of being transcribed by actors in the company as a record of their original staging at the Globe in 1599. The quarto version differs radically from the First Folio text which is used as the source for all other editions. Half as long as the Folio, it represents a practical staging text that streamlined the script supplied by Shakespeare. This edition of the Henry V quarto provides a modernized text alongside the extensive commentary. Andrew Gurr examines each variant from the Folio text in detail, shedding new light on what happened to scripts that the Shakespeare company bought from their resident playwright.
You've probably heard of Sir John Falstaff--but you don't really quite know him until you see him comedically in Shakespeare's "The Merry Wives of Windsor." He's a real comedian...that is if you can understand what he's talking about!If you have struggled in the past reading Shakespeare, then BookCaps can help you out. This book is a modern translation of The Merry Wives of Windsor.The original text is also presented in the book, along with a comparable version of both text.We all need refreshers every now and then. Whether you are a student trying to cram for that big final, or someone just trying to understand a book more, BookCaps can help. We are a small, but growing company, and are adding titles every month.
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. In this second edition of Shakespeare's Merry Wives of Windsor David Crane emphasises the liveliness of the play in stage terms. He also claims that this citizen comedy was an expression of Shakespeare's fundamental understanding of human life, conveyed centrally in the character of Falstaff. In the process he examines Shakespeare's free and vigorous use of different linguistic worlds. An account of the play's textual history concludes that at the time of its earliest performances Shakespeare's text was being adapted to specific theatrical needs, and as much in the possession of its players as of its author.