Stratford-uponAvon, 12 The final scene: Cheek by Jowl, 15 Anastasia Hille Rosalind:
Extracts from Shakespeare's principal source, Lodge's Rosalind 2: Stratford-uponAvon, 12 The final scene: Cheek by Jowl, 15 Anastasia Hille Rosalind: There are not as many editors, but their accumulated industry means that each successor can make only a modest contribution to what has been revealed and explained.
It is therefore appropriate to begin with a tribute to my predecessors, especially H. Furness, whose acute common sense shines through the verbosities that convention dictated he transcribe in the notes to the first New Variorum editionto his successor, Richard Knowles, whose revised work in the same series is magnificently full, sagacious, and accurate, to Alan Brissenden, who generously offered encouragement just after his own Oxford edition had appeared This edition is supported by recent encyclopaedic works of reference: A Textual Companion,Kenneth S.
Rothwell and Annabelle Henkin Melzer eds. Gooch, David Thatcher, and Odean Long eds. Harner's World Shakespeare Bibliography on CD-ROM, together with the Oxford English Dictionary on CD-ROM,not only enable an editor to move more swiftly and with more assurance and support scholars and students taking up the references that derive from them, but will serve to expose the lacunae that any editor knows dot the surface of her or his endeavours.
Conversely, for much of what had to be imported into earlier editions - analogous word usages, dutiful accounts of run-of-the-mill productions, transcriptions of song settings not associated with the earliest performances - the curious reader can be directed to these great repositories.
These add to the earlier works, George C. Odell's Shakespeare from Betterton to Irving, 2 vols. This edition has appeared after the explosion of theory-led re-examination of the texts and culture of the early modern period.
Whether in my Introduction I have paid too little or too much attention to the studies of gender, insurrection, and social praxis generally I have to leave my readers to decide. I started my work convinced I wanted to protect the innocence of the play, to remind users of the edition that comedy should be fun.
I end with the sense that As You Like It is both a more dangerous and a more cautious play than I would have thought.
It is dangerous in its exposure of gender instability, cautious in its invocation of a sanctified polis as the basis for civic order. I still think it is fun, full of exuberance and wit, and that any serious points are made with a light touch that is enjoyable yet sharp.
Librarians at the University of Sheffield, the Warburg and Shakespeare Institutes, the Shakespeare Centre particularly Sylvia Morrisand the British and London Libraries have been always helpful, and to my immediate colleagues I am grateful for generous sabbatical leaves which hastened the completion of this work.
My colleague Dr Malcolm Jones shared with me his research into early modern sexuality, Rex Gibson offered to me memories of productions we had both seen, and Dr Carol Chillington Rutter rendered trenchant but positive criticism of drafts of the Introduction.
Professor Al Braunmuller sent me useful information. Michel Bitot kindly invited me to try out some of my work in Tours; Judi Shepherd provided inestimable encouragement during the last year of my work.
Paul Chipchase copy-edited the text with the attention and diligence I have come to expect and welcome, Margaret Berrill copy-edited the whole volume with exemplary perspicacity, and Brian Gibbons, my General Editor, and Sarah Stanton were wonderfully supportive of my work.
University of Sheffield M. Other editions of Shakespeare are abbreviated under the editor's surname Latham, Dyce unless they are the work of more than one editor.
In such cases, an abbreviated series name is used Cam. When more than one edition by the same editor is cited, later editions are discriminated with a raised figure Collier2.
All quotations from Shakespeare use the lineation of The Riverside Shakespeare, under the textual editorship of G. Shakespeare's works Ado Ant. PP R2 R3 Rom.
Fairclough, Virgil, Loeb Classical Library, 2 vols. Andrews, The Everyman Shakespeare, E. Armstrong, Shakespeare's Imagination, edn T.
Bentley, The Jacobean and Caroline Stage, 7 vols. Brewer, The Dictionary of Phrase and Fable, n. As You Like It, ed. William Aldis Wright, 9 vols.The education is more important than gene Why the people have different life in the world?
People are the same when they born, and then why they have different ways in their life? Still treating metatheatricality as an aesthetic device, Richard Nelson conducts a functional analysis of metatheatricality, specifically the play-within-the-play, and presents a more or less historical view of its changes.
The functions he describes include the play as mirror, magic, mask, game, confessional, lie, clinic, life, and maze. Bloom’s Modern Critical Views African American Poets: Wheatley– Tolson African American Poets: Hayden– Dove Edward Albee Dante Alighieri American and Canadian Women.
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In a relatively thin year for Epicoene, Timothy L. Matos, ‘Jonson's Epicoene ’ (Expl i 9–12), meditates on the literal and metaphorical bodily dismemberments in the imagery of Jonson's play.
The production was cross-cast in an unpredictable way and this helped the Jeremy/ Tryman joke to function well. Crack was performed by three ‘Crack girls’, who were slightly hallucinatory and slightly Cabaret meets Clockwork Orange with a dash of Brecht. The metatheatricality of Polonius' actions would only be compounded if, as is suspected, the actor playing Polonius had also played Ceasar in Shakespeare's roughly . While the first woman is a self; the Function of Metatheatricality in Epicoene and the Spanish Tragedy and Its Connections to Woman Breaking Social Conventions Within the Plays. There are various elements comparing and contrast essay samples its civilization that is credited for its long — macbeth.
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