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Presenting The Sonnets by William Shakespeare with an introduction by Nicholas Tamblyn, and illustrations by Katherine Eglund. This classic is part of The Essential Series by Golding Books, and is also available in a Large Print edition. By becoming a monument in the past few centuries, William Shakespeare has been ruined for many children and adults alike. Monuments belie the freshness and passion of their original creation. Shakespeare was not immune to common human suffering and harmful desires. Even within the confines of poetic rhyme and the motives he may have had in addressing individuals (or the more lasting audience that he often alludes to), he used the sonnets to both reveal and explore powerful feelings, and ultimately to examine the ways that one may become, while inevitably flawed in some if not most of the areas of our sometimes unscrupulous and often challenging lives, a better person. Shakespeare's Sonnets, like his plays, lead many readers to Bardolatry. Classics among early English poetry and (more modern) romantic poetry, lines found there (like his plays) mark them out as famous poems that are widely known, but some of the most touching, beautiful, or memorable sonnets are likely never to have reached the eyes or ears of most people. Many will agree with Wordsworth's famous line (in his sonnet on the sonnet) that "with this same key Shakespeare unlocked his heart." As outlined in Nicholas Tamblyn's introduction, the sonnet sequence begins with seventeen that urge a "right fair" youth to reproduce his beauty, and the remaining sonnets until 126 continue to be addressed to this "thou" and "you"; the sonnets after 127 are focussed on the "dark lady," excluding the last two, which are different in tone and are related to Cupid. Sonnet 126 contains only twelve lines rather than fourteen, and so in a sense acts as a deliberate or incidental turning point between the two sections. Several sonnets touching on mortality appear in the sixties, but the great group of sonnets between number 18 (beginning with perhaps the sole line from the sequence that remains at the forefront of popular culture, "Shall I compare thee to a summer's day?") and 126 describe a wide range of ideas and, in ways that may be surprising to those who are yet to read them, ordinary daily activities that make them intriguing and revelatory every time they are read, whether keeping to the given sequence or opening here and there to sonnets at random, each of which have a claim to being classic poetry and worthy (in their own unique ways) of as much attention as his greatest plays. William Shakespeare was born in Stratford-upon-Avon in 1564. His father was John Shakespeare, an alderman and glover, and his mother was Mary Arden, the daughter of a wealthy landowning farmer. William was the third child of eight, and the eldest surviving son. In 1582, he married Anne Hathaway (about whom little is known, beyond her being eight years his senior), and their daughter Susanna was born six months later. Twins Hamnet and Judith followed in 1585; Hamnet died at the age of eleven of unknown causes. The period from 1585 to 1592 is known as Shakespeare's "lost years." His works began to be published and mentioned in the 1590s; he would ultimately write about 38 plays (sometimes in collaboration, likely making uncertain contributions to other plays), two long narrative poems, 154 sonnets, and other short verses. Shakespeare died--within one month of signing his will, and the date his birth is traditionally observed--on 23 April, 1616.
This is the Large Print edition of The Sonnets by William Shakespeare, published by Golding Books as part of its Essential Series. It features an introduction by Nicholas Tamblyn and illustrations by Katherine Eglund. Golding Books' Essential Series, along with its Great Books Series, comprises a wide variety of classic, influential and important books. These two series aim to champion not only remarkable and recognized literary achievements, but also to highlight the meaningful and significant works of lesser-known authors. Get your copy of the titles through convenient online purchase as an eBook or in paperback. By becoming a monument in the past few centuries, William Shakespeare has been ruined for many children and adults alike. Monuments belie the freshness and passion of their original creation. Shakespeare was not immune to common human suffering and harmful desires. Even within the confines of poetic rhyme and the motives he may have had in addressing individuals (or the more lasting audience that he often alludes to), he used the sonnets to both reveal and explore powerful feelings, and ultimately to examine the ways that one may become, while inevitably flawed in some if not most of the areas of our sometimes unscrupulous and often challenging lives, a better person. Shakespeare's Sonnets, like his plays, lead many readers to Bardolatry. Classics among early English poetry and (more modern) romantic poetry, lines found there (like his plays) mark them out as famous poems that are widely known, but some of the most touching, beautiful, or memorable sonnets are likely never to have reached the eyes or ears of most people. Many will agree with Wordsworth's famous line (in his sonnet on the sonnet) that "with this same key Shakespeare unlocked his heart." As outlined in the introduction, the sonnet sequence begins with seventeen that urge a "right fair" youth to reproduce his beauty, and the remaining sonnets until 126 continue to be addressed to this "thou" and "you"; the sonnets after 127 are focussed on the "dark lady," excluding the last two, which are different in tone and are related to Cupid. Sonnet 126 contains only twelve lines rather than fourteen, and so in a sense acts as a deliberate or incidental turning point between the two sections. Several sonnets touching on mortality appear in the sixties, but the great group of sonnets between number 18 (beginning with perhaps the sole line from the sequence that remains at the forefront of popular culture, "Shall I compare thee to a summer's day?") and 126 describe a wide range of ideas and, in ways that may be surprising to those who are yet to read them, ordinary daily activities that make them intriguing and revelatory every time they are read, whether keeping to the given sequence or opening here and there to sonnets at random, each of which have a claim to being classic poetry and worthy (in their own unique ways) of as much attention as his greatest plays. William Shakespeare was born in Stratford-upon-Avon in 1564. His father was John Shakespeare, an alderman and glover, and his mother was Mary Arden, the daughter of a wealthy landowning farmer. William was the third child of eight, and the eldest surviving son. In 1582, he married Anne Hathaway (about whom little is known, beyond her being eight years his senior), and their daughter Susanna was born six months later. Twins Hamnet and Judith followed in 1585; Hamnet died at the age of eleven of unknown causes. The period from 1585 to 1592 is known as Shakespeare's "lost years." His works began to be published and mentioned in the 1590s; he would ultimately write about 38 plays (sometimes in collaboration, likely making uncertain contributions to other plays), two long narrative poems, 154 sonnets, and other short verses. Shakespeare died--within one month of signing his will, and the date his birth is traditionally observed--on 23 April, 1616.
‘KUMBA AFRICA’, is a compilation of African Short Stories written as fiction by Sampson Ejike Odum, nostalgically taking our memory back several thousands of years ago in Africa, reminding us about our past heritage. It digs deep into the traditional life style of the Africans of old, their beliefs, their leadership, their courage, their culture, their wars, their defeat and their victories long before the emergence of the white man on the soil of Africa. As a talented writer of rich resource and superior creativity, armed with in-depth knowledge of different cultures and traditions in Africa, the Author throws light on the rich cultural heritage of the people of Africa when civilization was yet unknown to the people. The book reminds the readers that the Africans of old kept their pride and still enjoyed their own lives. They celebrated victories when wars were won, enjoyed their New yam festivals and villages engaged themselves in seasonal wrestling contest etc; Early morning during harmattan season, they gathered firewood and made fire inside their small huts to hit up their bodies from the chilling cold of the harmattan. That was the Africa of old we will always remember. In Africa today, the story have changed. The people now enjoy civilized cultures made possible by the influence of the white man through his scientific and technological process. Yet there are some uncivilized places in Africa whose people haven’t tested or felt the impact of civilization. These people still maintain their ancient traditions and culture. In everything, we believe that days when people paraded barefooted in Africa to the swarmp to tap palm wine and fetch firewood from there farms are almost fading away. The huts are now gradually been replaced with houses built of blocks and beautiful roofs. Thanks to modern civilization. Donkeys and camels are no longer used for carrying heavy loads for merchants. They are now been replaced by heavy trucks and lorries. African traditional methods of healing are now been substituted by hospitals. In all these, I will always love and remember Africa, the home of my birth and must respect her cultures and traditions as an AFRICAN AUTHOR.
The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.
(Vocal). With music by William Bolcom and libretto by Arnold Weinstein and Arthur Miller, this opera in two acts was given its World Premiere at the Lyric Opera of Chicago in October of 1999. The gripping story of love and betrayal is set in the rich background of the 1950s Italian immigrant life in Brooklyn. In addition to the libretto, the single sheet music is available for Rodolpho's aria, "The New York Lights." (00352362, $3.95)
For over sixty years, Malcolm Boyd has written truthfully about his own journey to fullness. From theologian to civil rights pioneer to coffee house troubadour to gay rights icon, Boyd has courageously and whole-heartedly shown the way to a deeper, more honest examination of all our lives, leading by example. White Crane Books is proud to re-release Boyd's classic spiritual biography and coming out story, Take Off the Masks, for a new generation of readers hungry for its insight, honesty and soulful perception. With a new introduction by Boyd's life partner, Mark Thompson, and a newly added postscript by Rev. Canon Boyd himself.
Writing at the time of political and social crisis in Athens, Aristophanes was an eloquent yet bawdy challenger to the demagogue and the sophist. The Achanians is a plea for peace set against the background of the long war with Sparta.
Shakespeare's sonnets rank among his best works, and are regarded as some of the finest love poetry in the English language. This volume contains the complete text of all 154 sonnets in a large, oversized edition (8"x10"), and has a corresponding image for each poem. Each image has been carefully selected to correspond to the sonnet, and features art by Claude Monet, Edouard Manet, Gustav Klimt, Pierre-Auguste Renoir, Mary Cassatt, Johannes Vermeer, Michelangelo, Paul Cezanne, Leonardo da Vinci, Camille Pissarro, Henri Matisse, Albrecht Durer, Odilon Redon, Ansel Adams, James Whistler, William-Adolphe Bouguereau, Gustave Dore, Rembrandt, Titian, Paul Gaugin, N.C. Wyeth, Francisco Goya, Aubrey Beardsley, Alfons Mucha, William Hogarth, and many, many more. The perfect gift for art and poetry lovers alike.