How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world’s greatest playwright.

    The thorough introduction discusses the tragicomedy as a genre, the writers thought to have collaborated on this play and the question of its authorship, and the significance of collaboration and censorship in the era when the play was written, as well as other notes on historical context. The editor goes on to address the public, literary, and theatrical contexts within and surrounding the play; the play's afterlife in theatrical adaptation and academia; and technical notes on editing the drama. Six appendices follow the text of The Two Noble Kinsmen. They are: "John Fletcher, 'Upon An Honest Man's Fortune'"; "The Portrait--Frontispiece of John Fletcher, 1647"; "Francis Beaumont, The Masque of the Inner Temple and Gray's Inn"; "Beaumont's 1613 Masque and The Two Noble Kinsmen"; "The Morris"; and "The Music." Finally, a reference section provides a list of abbreviations and references, a catalog of Shakespeare's works and works partly by Shakespeare, and citations for the modern productions mentioned in the text, other collated editions of The Two Noble Kinsmen, and other related reading.The Arden Shakespeare has developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play's foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader.

    The author of 'The Life and Times of the Thunderbolt Kid' isn't, after all, a Shakespeare scholar, a playwright, or even a biographer. Reading 'Shakespeare The World As Stage', however, one gets the sense that this eclectic Iowan is exactly the type of person the Bard himself would have selected for the task. The man who gave us 'The Mother Tongue' and 'A Walk in the Woods' approaches Shakespeare with the same freedom of spirit and curiosity that made those books such reader favorites. A refreshing take on an elusive literary master.

    Macbeth is a distinguished warrior hero, who over the course of the play, transforms into a brutal, murderous villain and pays an extraordinary price for committing an evil act. A man consumed with ambition and self-doubt, Macbeth is one of Shakespeare’s most vital meditations on the dangerous corners of the human imagination. Award-winning writer and beloved professor Harold Bloom investigates Macbeth’s interiority and unthinkable actions with razor-sharp insight, agility, and compassion. He also explores his own personal relationship to the character: Just as we encounter one Anna Karenina or Jay Gatsby when we are seventeen and another when we are forty, Bloom writes about his shifting understanding—over the course of his own lifetime—of this endlessly compelling figure, so that the book also 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. He delivers that kind of exhilarating intimacy and clarity in Macbeth, the final book in an essential series.

    But that year, at age forty-two, he found his footing again, finishing a play he had begun the previous autumn—King Lear—then writing two other great tragedies, Macbeth and Antony and Cleopatra.It was a memorable year in England as well—and a grim one, in the aftermath of a terrorist plot conceived by a small group of Catholic gentry that had been uncovered at the last hour. The foiled Gunpowder Plot would have blown up the king and royal family along with the nation’s political and religious leadership. The aborted plot renewed anti-Catholic sentiment and laid bare divisions in the kingdom.It was against this background that Shakespeare finished Lear, a play about a divided kingdom, then wrote a tragedy that turned on the murder of a Scottish king, Macbeth. He ended this astonishing year with a third masterpiece no less steeped in current events and concerns: Antony and Cleopatra.The Year of Lear sheds light on these three great tragedies by placing them in the context of their times, while also allowing us greater insight into how Shakespeare was personally touched by such events as a terrible outbreak of plague and growing religious divisions. For anyone interested in Shakespeare, this is an indispensable book.

    With characteristic narrative panache, Ackroyd immerses us in sixteenth-century Stratford and the rural landscape–the industry, the animals, even the flowers–that would appear in Shakespeare’s plays. He takes us through Shakespeare’s London neighborhood and the fertile, competitive theater world where he worked as actor and writer. He shows us Shakespeare as a businessman, and as a constant reviser of his writing. In joining these intimate details with profound intuitions about the playwright and his work, Ackroyd has produced an altogether engaging masterpiece.

    A moving and hilarious account of a spring day in a small Welsh coastal town, Under Milk Wood is "lyrical, impassioned and funny, an Our Town given universality" (The New Statesman and Nation).

    Drawing from the full spectrum of plays and sonnets to mark each day of the year, whether it's a scene from Hamlet to celebrate Christmas or a Sonnet in June to help you enjoy a summer's day. There are also passages to mark important days in the Shakespeare calendar, both from his own life and from his plays: You'll read a pivotal speech from Julius Caesar on the Ides of March and celebrate Valentine's day with a sonnet. Every passage is accompanied by an enlightening note to teach you its significance and help you better appreciate the timelessness and poetry of Shakespeare's words. Shakespeare for Every Day of the Year will give you a thoughtful way reflect on each day, all while giving you a deeper appreciation for the most famous writer in the English language.

    A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. Now, Emma Smith - an intellectually, theatrically, and ethically exciting writer - takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex, and the Shakespeare she reveals in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.

    Think of Hamlet, trapped in indecision, or Macbeth’s merciless and ultimately self-destructive ambition, or the Machiavellian rise and short reign of Richard III. They are so vital, so alive and real that we can see aspects of ourselves in them. But their world was at once familiar and nothing like our own. In this brilliant work of historical reconstruction Neil MacGregor and his team at the British Museum, working together in a landmark collaboration with the Royal Shakespeare Company and the BBC, bring us twenty objects that capture the essence of Shakespeare’s universe. A perfect complement to A History of the World in 100 Objects, MacGregor’s landmark New York Times bestseller, Shakespeare’s Restless World highlights a turning point in human history. This magnificent book, illustrated throughout with more than one hundred vibrant color photographs, invites you to travel back in history and to touch, smell, and feel what life was like at that pivotal moment, when humankind leaped into the modern age. This was an exhilarating time when discoveries in science and technology altered the parameters of the known world. Sir Francis Drake’s circumnavigation map allows us to imagine the age of exploration from the point of view of one of its most ambitious navigators. A bishop’s cup captures the most sacred and divisive act in Christendom. With A History of the World in 100 Objects, MacGregor pioneered a new way of telling history through artifacts. Now he trains his eye closer to home, on a subject that has mesmerized him since childhood, and lets us see Shakespeare and his world in a whole new light.

    Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.Hamilton: The Revolution gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda and Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--trace its development from an improbable perfor­mance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sond­heim, leading political commentators, and more than 40 people involved with the production; and multiple appearances by Presi­dent Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.

    Shortly after, he came back to Stratford to play Richard III – a breakthrough performance that would transform his career, winning him the Olivier and Evening Standard Awards for Best Actor. Sher’s record of the making of this historic theatrical event, Year of the King, has become a classic of theatre writing, a unique insight into the creation of a landmark Shakespearean performance.More than thirty years later, Antony Sher returned to Lear, this time in the title role, for the 2016 RSC production directed by Gregory Doran. Sher’s performance was acclaimed by the Telegraph as ‘a crowning achievement in a major career’, and the show transferred from Stratford to London’s Barbican. Once again, he kept a diary, capturing every step of his personal and creative journey to opening night.Year of the Mad King: The Lear Diaries is Sher’s account of researching, rehearsing and performing what is arguably Shakespeare’s most challenging role, known as the Everest of Acting. His strikingly honest, illuminating and witty commentary provides an intimate, first-hand look at the development of his Lear and of the production as a whole. Also included is a selection of his paintings and sketches, many reproduced in full colour.Like his Year of the King and Year of the Fat Knight: The Falstaff Diaries, this book, Year of the Mad King, offers a fascinating perspective on the process of one of the greatest Shakespearean actors of his generation.'One of the finest books I have ever read on the process of acting' Time Out on Year of the King'Antony Sher's insider journal is a brilliant exploded view of a great actor at work – modest and gifted, self-centred and selfless – a genius capable of transporting us backstage' Craig Raine, The Spectator (Books of the Year) on Year of the Fat Knight

    This volume features a wide selection of Wilde’s literary output, including the comic masterpiece The Importance of Being Earnest, an immensely popular play filled with satiric epigrams that mercilessly expose Victorian hypocrisy; The Portrait of Mr. W. H., a story proposing that Shakespeare’s sonnets were inspired by the poet’s love for a young man; The House of Pomegranates, the author’s collection of fairy tales; lectures Wilde delivered, first in the United States, where he exhorted his audiences to love beauty and art, and then in England, where he presented his impressions of America; his two major literary-theoretical works, “The Decay of Lying” and “The Critic as Artist”; and a selection of verse, including his great poem The Ballad of Reading Gaol, in which Wilde famously declared that “each man kills the thing he loves.” A testament to Wilde’s incredible versatility, this collection displays his legendary wit, brilliant use of language, and penetrating insight into the human condition.

    These pages, apparently found concealed beneath some floorboards, seemed to cast a remarkable new light on the mystery at the heart of the play. While Frayn began to lose all sense of certainty, actor David Burke, who played Niels Bohr in the London production and had some experience with documents of this sort, followed the action with particularly close interest. After the riddle was cracked and the fog had cleared, Frayn and Burke sat down together to ponder the winding trail of the Copenhagen papers.By turns comic and profound, The Copenhagen Papers explores the conundrum at the heart of all Michael Frayn's work--human fallibility and the eternal difficulty of knowing why we do what we do.

    Bitter rivalries. Jealousy. Betrayals. Star-crossed lovers. When you consider all these plot points, it's pretty surprising William Shakespeare didn't write Mean Girls. But now fans can treat themselves to the epic drama--and heroic hilarity--of the classic teen comedy rendered with the wit, flair, and iambic pentameter of the Bard. Our heroine Cady disguises herself to infiltrate the conniving Plastics, falls for off-limits Aaron, struggles with her allegiance to newfound friends Damian and Janis, and stirs up age-old vendettas among the factions of her high school. Best-selling author Ian Doescher brings his signature Shakespearean wordsmithing to this cult classic beloved by generations of teen girls and other fans. Now, on the 15th anniversary of its release, Mean Girls is a recognized cultural phenomenon, and it's more than ready for an Elizabethan makeover.