Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become 'real' at all" writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth.Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics. His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential. For, as John Bayley observes, these lectures give us a true and exhilarating sense of "the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things."

    The main body of the work consists of an alphabetical glossary of all words and phrases used in a sexual or scatological sense, with full explanations and cross-references.

    until the gates shut at night. That's when the animals come out of their cages to stage elaborate performances of Shakespeare's greatest works. They might not be the most accomplished thespians, but they've got what counts: heart. Also fangs, feathers, scales, and tails, in The Stratford Zoo Midnight Revue Presents Macbeth. Ian Lendler's hilarious tale of after-hours animal stagecraft is perfectly paired with the adorable, accessible artwork of Zack Giallongo (Broxo, Ewoks). And with Romeo and Juliet coming in book two, this is a promising new series of graphic novels for young readers.

    He was educated in the classics at Oxford and became widely known as an essayist, playwright, poet, and statesman. First produced in 1713, Cato, A Tragedy inspired generations toward a pursuit of liberty. Liberty Fund’s new edition of Cato: A Tragedy, and Selected Essays brings together Addison’s dramatic masterpiece along with a selection of his essays that develop key themes in the play.Cato, A Tragedy is the account of the final hours of Marcus Porcius Cato (95–46 B.C.), a Stoic whose deeds, rhetoric, and resistance to the tyranny of Caesar made him an icon of republicanism, virtue, and liberty. By all accounts, Cato was an uncompromisingly principled man, deeply committed to liberty. He opposed Caesar’s tyrannical assertion of power and took arms against him. As Caesar’s forces closed in on Cato, he chose to take his life, preferring death by his own hand to a life of submission to Caesar.Addison’s theatrical depiction of Cato enlivened the glorious image of a citizen ready to sacrifice everything in the cause of freedom, and it influenced friends of liberty on both sides of the Atlantic. Captain Nathan Hale’s last words before being hanged were, “I only regret that I have but one life to lose for my country,” a close paraphrase of Addison’s “What pity is it that we can die but once to serve our country!” George Washington found Cato such a powerful statement of liberty, honor, virtue, and patriotism that he had it performed for his men at Valley Forge. And Forrest McDonald says in his Foreword that “Patrick Henry adapted his famous ‘Give me liberty or give me death’ speech directly from lines in Cato.”Despite Cato’s enormous success, Addison was perhaps best-known as an essayist. In periodicals like the Spectator, Guardian, Tatler, and Freeholder, he sought to educate England’s developing middle class in the habits, morals, and manners he believed necessary for the preservation of a free society. Addison’s work in these periodicals helped to define the modern English essay form. Samuel Johnson said of his writing, “Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the study of Addison.”Christine Dunn Henderson is a Senior Fellow at Liberty Fund. Prior to joining Liberty Fund in 2000, she was assistant professor of political science at Marshall University.Mark E. Yellin, also a Fellow at Liberty Fund, received his Ph.D. from Rutgers University, has taught at North Carolina State University, and edited Douglass Adair’s Intellectual Origins of Jeffersonian Democracy.Click here for a pdf of the Cato: A Tragedy brochure

    It's in the collisions between pious and rogue thoughts that the play's energy lies. We don't know what to feel. Which is why, once seen, Joe Egg won't go away.'Robert Butler, Independent on Sunday (1993)

    Book annotation not available for this title.Title FortinbrasAuthor Blessing, LeePublisher Dramatists Play ServicePublication Date 19920101Number of Pages Binding Type PAPERBACKLibrary of Congress 92165606

    S. schools; language and literacy education; program models; instruction and assessment approaches, methods, and strategies; Common Core and English language proficiency standards and accountability requirements. Includes a companion website.

    No Fear Shakespeare gives you the complete text of The Tempest on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains The complete text of the original play A line-by-line translation that puts Shakespeare into everyday language A complete list of characters with descriptions Plenty of helpful commentary

    No qualifications. Go out and buy it everybody."Kenneth Rexroth, The Nation"The translations deliberately avoid the highly wrought and affectedly poetic; their idiom is contemporary....They have life and speed and suppleness of phrase."Times Education Supplement"These translations belong to our time. A keen poetic sensibility repeatedly quickens them; and without this inner fire the most academically flawless rendering is dead."Warren D. Anderson, American Oxonian"The critical commentaries and the versions themselves...are fresh, unpretentious, above all, functional."Commonweal"Grene is one of the great translators."Conor Cruise O'Brien, London Sunday Times"Richmond Lattimore is that rara avis in our age, the classical scholar who is at the same time an accomplished poet."Dudley Fitts, New York Times Book Review

    In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary-- and generally blistering-- reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing-- sometimes graphically-- in homoerotic love.Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world-- fearless, explicit, and uncompromised-- before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.

    Fate and fortune.. Murders and atrocities. Insomnia and insanity. Unchecked aspirations and even decapitation. Power-crazed and convinced of his own invincibility, Macbeth, the Scottish war hero, turns into a serial killer, annihilating anybody who gets in his way. A four-page introduction gets you involved, and an abridged text makes the action fast-paced. The text is true to Shakespeare’s original language, setting, and time. This manga edition gets you quickly engrossed in Macbeth’s blood-soaked path to power.

    The lifetime work of Professor Alexander Schmidt of Königsberg, this book has long been the indispensable companion for every person seriously interested in Shakespeare, Renaissance poetry and prose of any sort, or English literature. It is really two important books in one.Schmidt’s set contains every single word that Shakespeare used, not simply words that have changed their meaning since the seventeenth century, but every word in all the accepted plays and the poems. Covering both quartos and folios, it carefully distinguishes between shades of meaning for each word and provides exact definitions, plus governing phrases and locations, down to the numbered line of the Cambridge edition of Shakespeare. There is no other word dictionary comparable to this work.Even more useful to the general reader, however, is the incredible wealth of exact quotations. Arranged under the words of the quotation itself (hence no need to consult confusing subject classifications) are more than 50,000 exact quotations. Each is precisely located, so that you can easily refer back to the plays or poems themselves, if you wish context.Other features helpful to the scholar are appendixes on basic grammatical observations, a glossary of provincialisms, a list of words and sentences taken from foreign languages, a list of words that form the latter part of word-combinations. This third edition features a supplement with new findings.

    Mama, a sweet and capable manager, sees her children through childhood, manages to educate them and to see one of her daughters begin her career as a writer. Mama's sisters and uncle furnish a rich background for a great deal of comedy and a little incidental tragedy, while the doings of the children manage to keep everyone in pleasant turmoil. No description can do justice to the rich characterizations that fill the author's canvas. A High School version (ISBN 0-8222-0550-5) is also available at the same price. Groups interested should specify which version."

    Prince Nicu II and Princess Victoria's immutable, romantic feelings for one another forces them to engage in extremely risky actions and fabricate various falsehoods. Throughout the play Nicu II and Victoria deceive everyone; including their parents King Nicu I and Queen Isabella. Nicu II is presumptuous in character, therefore, he maintains an excessive confidence within himself that he and his sister's romantic relationship can continue without being discovered, but Victoria fears that they cannot continue their affair emotionally unscathed. Despite Victoria's worries, she continues with the relationship as Nicu II emboldens her more and more.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.