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As You Like It de William Shakespeare

As You Like It

Autor William Shakespeare
en Limba Engleză Paperback – mai 2018 – vârsta până la 17 ani
As You Like It by William Shakespeare is a celebrated Shakespearean comedy filled with romance, mistaken identities, witty dialogue, family conflict, and reflections on love and life. When Rosalind is exiled by Duke Frederick, who has seized her father's position, she disguises herself as a young shepherd and escapes with her cousin Celia and the court jester Touchstone to the Forest of Arden, setting the stage for an imaginative tale of transformation and discovery.

Meanwhile, Orlando, driven away by conflict with his jealous older brother, also finds refuge in the forest. Deeply in love with Rosalind but unaware of her disguise, he encounters her in an unexpected form. Through playful deception, romantic misunderstandings, and memorable encounters, Shakespeare explores the complexities of love, identity, relationships, and human nature with humor and insight.

Set largely away from the restrictions of court life, the Forest of Arden becomes a place where characters reconsider who they are and what they truly value. The play blends romantic comedy, pastoral literature, wit, friendship, family relationships, and social observation, while its famous reflections on the stages of human life have helped make it an enduring work of English literature.

A timeless classic play by William Shakespeare, As You Like It offers readers an engaging combination of comedy, romance, poetry, and philosophical reflection. It is an excellent choice for readers of classic literature, Shakespeare plays, English drama, Renaissance literature, and romantic comedy, as well as students exploring Shakespeare's influential works.

Why should readers pick this book?

  • Classic Shakespearean Comedy: Experience one of Shakespeare's beloved comedies, combining romance, humor, disguise, mistaken identity, and memorable characters.
  • Love, Wit & Transformation: Follow Rosalind and Orlando through an entertaining story that explores attraction, identity, friendship, family conflict, and personal discovery.
  • For Literature & Shakespeare Readers: A compelling choice for students, classic literature enthusiasts, theater lovers, and readers interested in English drama and Renaissance literature.

Key Themes
  • Love & Relationships: Explore different expressions of romantic love, courtship, friendship, loyalty, and the complexities of human relationships.
  • Identity & Disguise: Discover how Rosalind's disguise creates opportunities to examine identity, perception, gender roles, and self-discovery.
  • Freedom & Human Nature: Contrast court life with the Forest of Arden as characters reflect on freedom, society, family, change, and the stages of human life.
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Specificații

ISBN-13: 9789387779617
ISBN-10: 9387779610
Pagini: 152
Dimensiuni: 127 x 197 x 9 mm
Greutate: 0.11 kg
Editura: Prakash Books

Notă biografică

William Shakespeare began his career as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as King's Men, in London. Often regarded as the 'Bard of Avon' he is one of the world's pre-eminent dramatists. Most of his known works have been produced between 1589 and 1613. His plays demonstrate the expansiveness of his imagination and the extent of his learning. Shakespeare introduced prose comedy in the histories of the late 1590s--Henry IV, Part I and Part II, and Henry V--after the lyrical Richard II. Julius Caesar introduced a new kind of drama. Shakespeare's sequence of great comedies continue with Merchant of Venice, Much Ado About Nothing, As You Like It, and Twelfth Night. Until about 1608, he mainly wrote tragedies including Hamlet, Othello, King Lear, and Macbeth. Antony and Cleopatra and Coriolanus--his last major tragedies, contain some of his finest poetry. A true genius, Shakespeare's popular characters and plots are studied, performed, reinterpreted, and discussed till today.

Descriere

Descriere de la o altă ediție sau format:
'We that are true lovers run into strange capers.'Four centuries after its publication in the Folio, As You Like It's capacity to entertain and instruct remains evergreen. This edition provides a friendly yet authoritative introduction to the play, upholding it as a crowning expression of the Elizabethan Renaissance while underscoring its appeal to twenty-first century readers as Shakespeare's most intrepid exploration of gender, sexuality, and the environment. Its double-cross-dressed heroine dominates the plot (and their love interest Orlando) to conduct a masterclass in gender fluidity. The melancholic Jaques unmasks the fundamental theatricality of existence and questions humanity's prerogative to displace and harm other species. Through the clown Touchstone, the comedy tests the possibility that we might laugh ourselves wise, especially when we learn to laugh at ourselves. In the Forest of Arden, we encounter Shakespeare's most beguiling vision of the natural world as a realm of serenity and harmony, while brushing up against the briars that puncture our fantasies of the simple life. The New Oxford Shakespeare offers authoritative editions of Shakespeare's works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare's work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare's work.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Textul de pe ultima copertă

Unjustly deposed by his younger brother, the rightful duke retreats to the Forest of Arden and forms a utopia with his loyal followers while his daughter remains at court as a companion to her cousin. When forbidden romance enters their lives, the girls assume disguises and flee to the forest, where they encounter a magical world of friendly outlaws and wise fools. Both a lighthearted comedy and a deeper exploration of social and literary issues, this play features a memorable cast of characters and some of Shakespeare s finest poetry."

Cuprins

ACKNOWLEDGEMENTS
INTRODUCTION
SHAKESPEARE’S LIFE
SHAKESPEARE’S THEATER
WILLIAM SHAKESPEARE: A BRIEF CHRONOLOGY
A NOTE ON THE TEXT
ABBREVIATIONS
AS YOU LIKE IT
APPENDIX A: SOURCES AND INFLUENCES
  1. From Thomas Lodge, Rosalind (1590)
  2. From “The Tale of Gamelyn” (14th Century)
  3. From “Robin Hood and the Beggar”
  4. From John Lyly, Galatea (1592)
  5. From Ben Jonson, Every Man in His Humor (1598)
  6. From Joseph Hall, Satires (1598)
APPENDIX B: CLASSICAL MYTHS IN AS YOU LIKE IT
BIBLIOGRAPHY

Recenzii

Now, in the twenty-first century, Patricia Lennox broadens that understanding in her excellent edition of As You Like It where she draws on her knowledge of international film and television. She offers new meaning for modern readers who, while they savor Shakespeare’s language also understand visual signals from contemporary media.
- Irene G. Dash, Hunter College, CUNY, retired

Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.

Apprpriate for courses in Shakespeare in departments of English where separate volumes are used; drama genre coures, or Renaissance drama, as taught in departments of English or theater;also often honors cores, or great book programs. Also high school English departments.