ARDEN SHAKESPEARE PDF

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Arden Shakespeare Publisher - works / 33 ebooks published between Common Subjects Search for books published by Arden Shakespeare. THE ARDEN SHAKESPEARE. GENERAL EDITOR: W. J. . The recent Book of Homage to Shakespeare (Oxford, 6) has furnished somd particulars that. The Arden Shakespeare has long set the gold standard in annotated, scholarly editions of Media of Shakespeare in London PDF eBook (Watermarked).


Arden Shakespeare Pdf

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This Arden edition of Hamlet, arguably Shakespeare's greatest tragedy, presents an authoritative, modernized text based Format: PDF eBook (Watermarked). Shakespeare, W - As You Like It (Arden, ).pdf - Ebook download as PDF File .pdf), Text File .txt) or read book online. Shakespeare Quarterly, Volume 58, Number 3, Fall , pp. (Review) The Arden Shakespeare Hamlet: The Texts of and Edited.

Conventions used in these textual notes include the following. Names enclosed in italic brackets indicate originators of conjectural emendations when these did not originate in an edition of the text, or when the named edition records a conjecture not accepted into its text.

Stage directions SDs are referred to by the number of the line within or immediately after which they are placed.

Shakespeare, W - As You Like It (Arden, 2006).pdf

Line numbers with a decimal point relate to entry SDs and to SDs more than one line long, with the number after the point indicating the line within the SD: e. Lines of SDs at the start of a scene are numbered 0.

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Where only a line number and SD precede the square bracket, e. Speech prefixes SPs follow similar conventions, SP] referring to the speaker's name for line Where a SP reference takes the form e. Where, as with King Henry F, one of the early editions is a so-called 'bad quarto' that is, a text either heavily adapted, or reconstructed from memory, or both , the divergences from the present edition are too great to be recorded in full in the notes.

In these cases the editions will include a reduced photographic facsimile of the 'bad quarto' in an appendix.

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They discuss the history of the reception of the texts within the theatre and scholarship and beyond, investigating the interdepen- dence of the literary text and the surrounding 'cultural text' both at the time of the original production of Shakespeare's works and during their long and rich afterlife.

XV Early in the s a schoolboy was given as a school prize a mag- nificent presentation copy of As You Like It, with an introduction by Edward Dowden and illustrations by Emile Bayard.

It was bound in white vellum embossed with gold and lined with green silk and inscribed with his name, Charles Cecil. With what joy and hope he received it, and what it rewarded, no one now knows, for he was killed in July at the battle of the Somme, and rests for ever in the Ardennes.

In Frederick Bridge, organist and passionate lover of Shakespeare, christened his daughter Rosalind. He liked the name even if Jaques didn't.

Our Rosalind, with her infectious cackle, certainly would never let anyone sing their song without a burden, and played her breeches part allegro con brio. Our family were old foresters.

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I would like to thank the general editors, David Scott Kastan and Richard Proudfoot, for an immense amount of meticulous hard work on behalf of this edition; and Ann Thompson for asking me to undertake it, and for many years of support. The pioneering eighteenth-century editions, of which Edward Capell's is the most illuminating, have been a vital source of information. David Bevington advised throughout, and generously read and commented on an early draft of the Introduction, as did my erstwhile colleague James Simpson, whose help has been Preface indispensable; warm thanks also for detailed comments from John and Margaret Parry, Elizabeth Newlands and Veronica Cutler.

Bulman and Robert Miola.

The input of Tom Lockwood, an invaluable research assistant , has been vital to the whole project. If I have now got queer theory straight, it is entirely due to Anne Fernihough.

The responsibility for any remaining errors is of course my own. A research fellowship at the Folger Shakespeare Library in was a godsend; special thanks in addition to those already mentioned, to Georgianna Ziegler, Laetitia Yendle and Peter Blayney.

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Warmest acknowledgements for help over many years to the long-suffering, expert and amiable staff of Cambridge University Library, especially of the Rare Books, Manuscript and Anderson rooms; to Frances Gandy and the staff of Girton College library; and to Girton College for ongoing support and generosity with sabbatical leaves.

Philip Jebb, the archivist at Downside School. I owe a special debt of gratitude to Pierre-Jacques Lamblin, Director of the Bibliothque municipale, Douai, for his careful reading of Appendix 4, for permission to print material from Bm de Douai, MS Anglais, Douai , and for his enthusiastic support of the whole project; also to Jacqueline Delporte and the staff of the Bibliothque municipale who made xvn my visit in so enjoyable.

Michle Willems of the University of Rouen kindly criticized Appendix 4. Unpublished work was generously made available to me by Anne Barton, Tiffany Stern and David Kathman, who also commented helpfully on Appendix 2.

Many thanks to the numerous readers, editors and copy- editors who have worked on articles and essays on the play. Grateful thanks to the Arden Shakespeare for financial help; to Jessica Hodge, for unfailing support; to Margaret Bartley, its director; to Jane Armstrong, for keeping her head when all about her were in danger of losing theirs, and for tireless hard work; to Philippa Gallagher, her predecessor Giulia Vicenzi, Fiona Freel, Jocelyn Stockley and all the other members of the working team.

The Arden3 editors, Thompson and Taylor, take a different approach. They judge "that each of the three texts has sufficient merit to be read and studied on its own" So they provide, in two volumes, three modern-spelling Hamlets: one based on Q2 assigned a volume to itself , one based on F, and one based on Q1.

Each is conservatively edited. Thomson and Taylor "preserve the copy-text reading wherever we can reasonably defend it and emend only when, to us, it is implausible" They avoid introducing F-only passages into their Q2-based text and Q-only passages into their F-based text.

They do import a few F readings to correct blatantly erroneous Q2 readings and vice versa, but they conflate far less frequently than Jenkins, Taylor, or Hibbard.

Arden of Feversham by William Shakespeare and Rev. Ronald Bayne

Q1, diverging so greatly from the other two, is equipped with its own stage history and explanatory notes, whereas the F commentary concentrates on differences from Q2. The Q2-based edition, potentially usable on its own, includes the F-only passages in appendixes.

In an excellent account of "The Nature of the Texts" appendix 2 [—] , Thompson and Taylor survey previous approaches to editing Hamletand set forth the reasons for their own procedures.Bulman and Robert Miola. For any other requests or concerns, please contact your Account Manager. Continue on UK site. Our family were old foresters.

Reading his trenchant notes in defense of his choices remains an invigorating experience. Close textual readings accompany the wealth of contextual material, providing a fresh and exciting way into Shakespeare's work.