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As You Like It de William Shakespeare

As You Like It: The Arden Shakespeare Fourth Series

Autor William Shakespeare Professor Tom Bishop
en Limba Engleză Hardback – 29 oct 2026
Shakespeare's popular pastoral romance, As You Like It, features disguised lovers, exiled brothers, multiple marriage plots, a wrestling bout and the famous Forest of Arden. Friendships are formed and lovers are reunited in a play that explores the intersection of love, 'play' and deception. Rosalind's unique performance of gender, both as herself and in disguise as Ganymede, provides the pivot on which the play turns, leading us into the magic of the forest where music, dancing and masques showcase the talents of the King's Men company who performed As You Like It in the late Elizabethan period. From the lovers, Rosalind and Orlando, to Jaques, the melancholy cynic, and Touchstone, the sly jester, this joyous comedy contains well-loved characters who take on new resonances in a contemporary edition which explores the play's rich global afterlives.

The Arden Shakespeare Fourth Series As You Like It provides:
- A critical introduction to the play's textual, cultural and performance history
- An edition attuned to the late Elizabethan culture which produced the play
- Detailed on-the-page notes explaining language, character and performance
- A clear page layout with an easy-to-read font and single-column notes
- Images of relevant productions, paintings and texts

The Arden Shakespeare Fourth Series includes a new edition of every Shakespeare play, the poems and sonnets. Each volume is edited afresh by a leading scholar specialising in cutting-edge research on performance, gender, sexuality and race. These editions cover everything you need to know as a student, teacher, researcher, theatre-maker and performer of Shakespeare's works today.
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Specificații

ISBN-13: 9781350144415
ISBN-10: 135014441X
Pagini: 384
Ilustrații: 20 b/w
Dimensiuni: 138 x 216 x 25 mm
Greutate: 0.45 kg
Editura: Bloomsbury Publishing
Colecția The Arden Shakespeare
Seria The Arden Shakespeare Fourth Series

Locul publicării:London, United Kingdom

Cuprins

List of illustrations
General editors' preface
How to use this edition
Acknowledgements

Introduction
- As You Like It now
- The play then
- Date and Repertory context
- Special Features of the Play
- External repertory connections
- Building blocks of the play
- Performance History
- Rationale of this edition
- The Text

AS YOU LIKE IT

Appendix: The Music for As You Like It

Abbreviations and references

Index

Textul de pe ultima copertă

Both a witty satire of literary cliche and a tender meditation on the varieties of love, As You Like It continues to be one of Shakespeare's most beloved and widely performed comedies. In the introduction to this new edition, David Bevington traces the complex relationships between the characters in the play, and explores the history of its criticism from Samuel Johnson to the twenty-first century.Illustrations and extended discussions of myth and folklore alluded to in the play are interleaved with the text, and appendices provide excerpts from key sources for the play.

Notă biografică

Venus and Adonis is a narrative poem by William Shakespeare published in 1593. It is probably Shakespeare's first publication.The poem tells the story of Venus, the goddess of Love of her unrequited love and of her attempted seduction of Adonis, an extremely handsome young man, who would rather go hunting. The poem is pastoral, and at times erotic, comic, and tragic. It contains discourses on the nature of love, and observations of nature.It is written in stanzas of six lines of iambic pentameter rhyming ABABCC although this verse form was known before Shakespeare's use, it is now commonly known as the Venus and Adonis stanza, after this poem. This form was also used by Edmund Spenser and Thomas Lodge. The poem consists of 199 stanzas or 1,194 lines.It was published originally as a quarto pamphlet and published with great care. It was probably printed using Shakespeare's fair copy. The printer was Richard Field, who, like Shakespeare, was from Stratford. Venus and Adonis appeared in print before any of Shakespeare's plays were published, but not before some of his plays had been acted on stage. It has certain qualities in common with A Midsummer Night's Dream, Romeo and Juliet, and Love's Labour's Lost. It was written when the London theatres were closed for a time due to the plague.The poem begins with a brief dedication to Shakespeare's patron, Henry Wriothesley, 3rd Earl of Southampton, in which the poet describes the poem as "the first heir of my invention".The poem is inspired by and based on stories found in the Metamorphoses, a narrative poem by the Latin poet, Ovid (43 BC - AD 17/18). Ovid's much briefer version of the tale occurs in book ten of his Metamorphoses. It differs greatly from Shakespeare's version. Ovid's Venus goes hunting with Adonis to please him, but otherwise is uninterested in the out-of-doors. She wears "tucked up" robes, worries about her complexion, and particularly hates dangerous wild animals. Shakespeare's Venus is a bit like a wild animal herself: she apparently goes naked, and is not interested in hunting, but only in making love to Adonis, offering her body to him in graphically explicit terms. In the end, she insists that the boar's killing of Adonis happened accidentally as the animal, impressed by the young hunter's beauty, gored him while trying to kiss him.

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.