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In All's Well That Ends Well, Helen, a lowly ward, risks her life to satisfy her boundless love for Bertram, a count and ward to the King of France. Following him to Paris, she concocts an endangering plan to win the King of France's favour and induce Bertram's hand in marriage. In the comprehensive introduction to this new, fully-illustrated Arden edition, Suzanne Gossett takes a transformative look at the play's critical and performance history by offering fresh perspectives on the conundrum of genre, sexuality and moral dilemmas with masculinity and the structures of family. The authoritative play text is amply annotated to clarify its language and allusions, and two appendices debate the play's authorship and review its casting. Offering students and scholars alike a wealth of insight and new research, this edition maintains the rigorous standards of the Arden Shakespeare.
Few writers have a deeper understanding of the foibles of human nature and life’s absurdities and tragedies than William Shakespeare. This makes him a fascinating companion for the season of Lent, a traditional time for a spot of self-examination. This engaging, wise and often amusing Lent book sets quotations from Shakespeare’s characters and poems alongside biblical passages and reflects on the resonance between them – one reflection for each day of the season. It starts with dust on Ash Wednesday (‘Golden lads and girls all must, As chimney-sweepers, come to dust’, from Cymbeline) and ends with resurrection as Easter Sunday approaches (‘It is required you do awake your faith’, from The Winter’s Tale). In between, it considers many rich spiritual themes: mercy, love, loyalty, trust, good vs evil, guilt, forgiveness, ageing, grief, death, hope and more. Each day’s reflection opens with a quotation from Shakespeare and explores its ideas in conversation with the Bible and Christian thought.
Usually classified as a "problem comedy," All's Well that Ends Well is a psychologically disturbing presentation of an aggressive, designing woman and a reluctant husband wooed by trickery. In her introduction Susan Snyder makes the play's clashing ideologies of class and gender newlyaccessible, and offers a fully reconsidered, annotated text for both readers and actors.
This illustrated book, divided into three sections: comedies, tragedies, historical plays and poems, celebrates the entire body of Shakespeare's works.
The New Oxford Shakespeare is a landmark print and online project, which for the first time provides fully edited and annotated texts of all extant versions of all Shakespeare's works, including collaborations, revisions, and adaptations. Based on a fresh examination of the surviving original documents, it draws upon the latest interdisciplinary scholarship, supplemented by new research undertaken by a diverse international team. Although closely connected and systematically cross-referenced, each part can be used independently of the others. The New Oxford Shakespeare: The Complete Works: Critical Reference Edition collects the same versions of the same works found in the Modern Critical Edition, keyed to the same line-numbering. But the Critical Reference Edition emphasizes book history and the documentary origins of each text. It preserves the spelling, punctuation, capitalization, abbreviations, typographical contrasts, ambiguities, and inconsistencies of the early documents. Introductions focus on early modern manuscript and print culture, setting each text within the material circumstances of its production, transmission, and early reception. The works are arranged in the chronological order of the surviving texts: the first volume covers documents manufactured in Shakespeare's lifetime, and the second covers documents made between 1622 and 1728. The illustrated general introduction presents an overview of the texts available to editors and describes how they define Shakespeare. An essay on error surveys kinds of error characteristic of these early text technologies. It is followed by a general introduction to the music of Shakespeare's plays. Introductions to individual works and an extensive foot-of-the-page textual apparatus record and discuss editorial corrections of scribal and printing errors in the early documents; marginal notes record press variants and key variants in different documents. Original music notation is provided for the songs (where available). Because the plays were written and copied within the framework of theatrical requirements, casting charts identify the length and type of each role, discuss potential doubling possibilities, and note essential props. The New Oxford Shakespeare consists of four interconnected publications: the Modern Critical Edition (with modern spelling), the Critical Reference Edition (with original spelling), a companion volume on Authorship, and an online version integrating all of this material on OUP's high-powered scholarly editions platform. Together, they provide the perfect resource for the future of Shakespeare studies.
Seventeen critics are represented in this collection of essays designed to illustrate the vitality and range of traditional and new approaches to Shakespeare studies.