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Hamlet's combination of violence and introspection is unusual among Shakespeare's tragedies. It is also full of curious riddles and fascinating paradoxes, making it one of his most widely discussed plays. Professor Hibbard's illuminating and original introduction explains the process by which variant texts were fused together in the eighteenth century to create the most commonly used text of today. Drawing on both critical and theatrical history, he shows how this fusion makes Hamlet seem a much more `problematic' play than it was when it originally appeared in the First Folio of 1623. The Oxford Shakespeare edition presents a radically new text, based on that First Folio, which printed Shakespeare's own revision of an earlier version. The result is a `theatrical' and highly practical edition for students and performers alike.
By this edition of HAMLET I hope to help the student of Shakspere to understand the play-and first of all Hamlet himself, whose spiritual and moral nature are the real material of the tragedy, to which every other interest of the play is subservient. But while mainly attempting, from the words and behaviour Shakspere has given him, to explain the man, I have cast what light I could upon everything in the play, including the perplexities arising from extreme condensation of meaning, figure, and expression. As it is more than desirable that the student should know when he is reading the most approximate presentation accessible of what Shakspere uttered, and when that which modern editors have, with reason good or bad, often not without presumption, substituted for that which they received, I have given the text, letter for letter, point for point, of the First Folio, with the variations of the Second Quarto in the margin and at the foot of the page.
Shakespeare and the Classics demonstrates that the classics are of central importance in Shakespeare's plays and in the structure of his imagination. Written by an international team of Shakespeareans and classicists, this book investigates Shakespeare's classicism and shows how he used a variety of classical books to explore crucial areas of human experience such as love, politics, ethics and history. The book focuses on Shakespeare's favourite classical authors, especially Ovid, Virgil, Seneca, Plautus and Terence, and, in translation only, Plutarch. Attention is also paid to the humanist background and to Shakespeare's knowledge of Greek literature and culture. The final section, from the perspective of reception, examines how Shakespeare's classicism was seen and used by later writers. This accessible book offers a rounded and comprehensive treatment of Shakespeare's classicism and will be a useful first port of call for students and others approaching the subject.
David Bevington demonstrates that the staging, criticism, and editing of Hamlet go hand in hand over the centuries to such a remarkable extent that the history of Hamlet can be seen as a kind of paradigm for the cultural history of the English-speaking world.
Saxo Grammaticus, who's believed to have lived from 1150 until 1220 (though the dates are uncertain), wrote a sixteen-volume history of the Denmark that he lived in. Volumes X through XVI (oddly -- or perhaps not so oddly -- written first) are a conventional history of Saxo's day and age. But the first the volumes are the stuff of myth and legend, delightful tales of mythic Norse persons and circumstances. This book is comprised of those mythic volumes, and it's special stuff indeed.