King Lear: A Verse Translation
Autor William Shakespeare Traducere de Kent Richmonden Limba Engleză Paperback – 7 iun 2013
Features Line-by-line verse translation, not a prose paraphrase. Complete. No lines deleted or simplified. Accurate and authentic iambic pentameter. True to the feel and look of Shakespeare's original. Tone, complexity, and poetic devices preserved. Vocabulary range matches Shakespeare's. Uncluttered, easy-to-read layout. Ready for theatrical performance.
Readers experience the brutal downfall of Shakespeare's most dysfunctional family with the comprehension and delight of audiences 400 years ago-the way Shakespeare intended.
"Too often, unless we read a Shakespeare play beforehand, we process the language as if it were coming from a poorly tuned-in radio station. Shakespeare didn't write his plays to be experienced impressionistically as 'poetry;' he assumed his language was readily comprehensible. At what point does a stage of a language become so different from the modern one as to make translation necessary? Mr. Richmond is brave enough to assert that, for Shakespeare, that time has come. The French have Moliere, the Russians have Chekhov--and now, we can truly say that we have our Shakespeare."
--John McWhorter, Manhattan Institute
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Specificații
ISBN-13: 9780983637943
ISBN-10: 0983637946
Pagini: 184
Dimensiuni: 140 x 216 x 10 mm
Greutate: 0.22 kg
Editura: Full Measure Press
ISBN-10: 0983637946
Pagini: 184
Dimensiuni: 140 x 216 x 10 mm
Greutate: 0.22 kg
Editura: Full Measure Press
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Descriere
Descriere de la o altă ediție sau format:
''As flies to th' wanton boys are we to th' gods:They bite us for their sport.'Set in the recesses of British antiquity, King Lear broods on gift-giving, gratitude, service and love; the bonds that sustain human life within families, communities and the state. Concerned with what remains and what is possible when these bonds crack, cool off or come apart, the tragedy forces repeated confrontations with abysmal cruelty, which it yokes together with instances of compassion that seem chillingly frail by comparison. By the end of the twentieth century, Lear took its place not only as Shakespeare's greatest work, but also his best play for our times, fitting then, in its anguish and denials of consolation, as it is now. Its wild mixtures of levity and terror, kindness and malevolence, what came to be called its absurdity, was prized as especially modern.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.
''As flies to th' wanton boys are we to th' gods:They bite us for their sport.'Set in the recesses of British antiquity, King Lear broods on gift-giving, gratitude, service and love; the bonds that sustain human life within families, communities and the state. Concerned with what remains and what is possible when these bonds crack, cool off or come apart, the tragedy forces repeated confrontations with abysmal cruelty, which it yokes together with instances of compassion that seem chillingly frail by comparison. By the end of the twentieth century, Lear took its place not only as Shakespeare's greatest work, but also his best play for our times, fitting then, in its anguish and denials of consolation, as it is now. Its wild mixtures of levity and terror, kindness and malevolence, what came to be called its absurdity, was prized as especially modern.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
The text of the play included here, prepared by Craig Walker for The Broadview Anthology of British Literature, has been acclaimed for its outstanding introductory material and annotations, and for its inclusion of parellel text versions of key scenes for which the texts of the Quarto and the Folio versions of the play are substantially different.
Also included in this edition are excerpts from a variety of literary source materials (including Geoffrey on Monmouth's Historia Regum Britanniae, the anonymous True Chronicle Historie of King Leir, and Samuel Harsnett's A Declaration of Egregious Popish Impostures); material on the historical Annesley case that raised many of the same issues as does Shakespeare's play; and the happy ending from Nahum Tate's version of the play, which held the stage for 150 years after its first performance in 1681.
Notă biografică
William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King’s New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as “an upstart crow, beautified with our feathers.” Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain’s Men (later under James I, called the King’s Men). In 1599 the Lord Chamberlain’s Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare’s plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement in Stratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. He died on April 23 1616, and was buried in Holy Trinity Church, Stratford. No collected edition of his plays was published during his life-time, but in 1623 two members of his acting company, John Heminges and Henry Condell, put together the great collection now called the First Folio.
Cuprins
Introduction; Photo gallery; List of characters; Act 1; Act 2; Act 3; Act 4; Act 5; Perspectives and themes; The contexts of King Lear; Characters; The language of King Lear; Critics' forum; The truth and reconciliation commission; King Lear in performance; Writing about Shakespeare; Writing about King Lear; The Quarto and Folio editions; Timeline; Acknowledgements.
Caracteristici
A version of Ling Lear that transferred to the west End to critical acclaim, starring Ian McKellen.
Recenzii
'Lear is trapped into a position of anger, having embarked on a game of vanity with his daughters: who loves me most?'
'Of all the Shakespeare roles, King Lear is the actor's Everest... To play this you need to have lived long enough to know or see suffering, madness, and human folly.'
'King Lear is perhaps the greatest of all Shakespeare's dramas, but it is so harrowing, so despairing, so graphic in its cruelty, that it is also a test of endurance.'
'If Shakespeare's plays were mountains, King Lear would be the entire Himalayas.'
'The play - arguably the Bard's greatest'
''Lear' is an undeniably majestic work;
'Of all the Shakespeare roles, King Lear is the actor's Everest... To play this you need to have lived long enough to know or see suffering, madness, and human folly.'
'King Lear is perhaps the greatest of all Shakespeare's dramas, but it is so harrowing, so despairing, so graphic in its cruelty, that it is also a test of endurance.'
'If Shakespeare's plays were mountains, King Lear would be the entire Himalayas.'
'The play - arguably the Bard's greatest'
''Lear' is an undeniably majestic work;