William Shakespeare's classic play Othello, featuring valuable tools for educators and readers, from the esteemed Folger Shakespeare Library, home to the world's largest collection of Shakespeare's printed works.In Othello, William Shakespeare creates powerful drama from a marriage between the exotic Moor Othello and the Venetian lady Desdemona that begins with elopement and mutual devotion and ends with jealous rage and death. Shakespeare builds many differences into his hero and heroine, including race, age, and cultural background. Yet most readers and audiences believe the couple's strong love would overcome these differences were it not for Iago, who sets out to destroy Othello. Iago's false insinuations about Desdemona's infidelity draw Othello into his schemes, and Desdemona is subjected to Othello's horrifying verbal and physical assaults. The authoritative edition of Othello from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: --Freshly edited text based on the best early printed version of the play --Full explanatory notes conveniently placed on pages facing the text of the play --Scene-by-scene plot summaries --A key to famous lines and phrases --An introduction to reading Shakespeare's language --Illustrations from the Folger Shakespeare Library's vast holdings of rare books --An essay by a leading Shakespeare scholar providing a modern perspective on the play
In The Merchant of Venice, the path to marriage is hazardous. To win Portia, Bassanio must pass a test prescribed by her father's will, choosing correctly among three caskets or chests. If he fails, he may never marry at all.Bassanio and Portia also face a magnificent villain, the moneylender Shylock. In creating Shylock, Shakespeare seems to have shared in a widespread prejudice against Jews. Shylock would have been regarded as a villain because he was a Jew. Yet he gives such powerful expression to his alienation due to the hatred around him that, in many productions, he emerges as the hero. Portia is most remembered for her disguise as a lawyer, Balthazar, especially the speech in which she urges Shylock to show mercy that "droppeth as the gentle rain from heaven." The authoritative edition of The Merchant of Venice from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: -Freshly edited text based on the best early printed version of the play -Newly revised explanatory notes conveniently placed on pages facing the text of the play -Scene-by-scene plot summaries -A key to the play's famous lines and phrases -An introduction to reading Shakespeare's language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library's vast holdings of rare books -An up-to-date annotated guide to further reading Essay by Alexander Leggatt The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
Time and again, early modern plays show people at work: shoemaking, grave-digging, and professional acting are just some of the forms of labour that theatregoers could have seen depicted on stage in 1599 and 1600. Tom Rutter demonstrates how such representations were shaped by the theatre's own problematic relationship with work: actors earned their living through playing, a practice that many considered idle and illegitimate, while plays were criticised for enticing servants and apprentices from their labour. As a result, the drama of Shakespeare's time became the focal point of wider debates over what counted as work, who should have to do it, and how it should be valued. This book describes changing beliefs about work in the sixteenth century, and shows how different ways of conceptualising the work of the governing class inform Shakespeare's histories. It identifies important contrasts between plays written for the adult and child repertories.
It is perhaps the greatest story never told: the truth behind the most enduring works of English literature. Who was the man behind Hamlet, King Lear, and the sonnets? In "Shakespeare s Lost Kingdom," critically acclaimed historian Charles Beauclerk pulls off an enchanting feat, humanizing the bard who for centuries has remained beyond our grasp. Beauclerk has spent more than two decades researching the authorship question, and he convincingly argues that if the plays and poems of Shake-speare were discovered today, we would see them for what they areshocking political works written by a court insider, someone whose status and anonymity shielded him from repression in an unstable time of armada and reformation. But the author s unique status and identity were swept under the rug after his death. The official historyof an uneducated Stratfordian merchant writing in obscurity and of a virginal queen married to her countrydominated for centuries. "Shakespeare s Lost Kingdom" delves deep into the conflicts and personalities of Elizabethan England, as well as into the plays themselves, to tell the true story of the Soul of the Age. You ll never look at Shakespeare the same way again."
Acting Companies and their Plays in Shakespeare's London explores the intimate and dynamic relationship between acting companies and playwrights in this seminal era in English theatre history.Siobhan Keenan's analysis includes chapters on the traditions and workings of contemporary acting companies, playwriting practices, stages and staging, audiences and patrons, each illustrated with detailed case studies of individual acting companies and their plays, including troupes such as Lady Elizabeth's players, 'Beeston's Boys' and the King's Men and works by Shakespeare, Jonson, Middleton, Brome and Heywood. We are accustomed to focusing on individual playwrights: Acting Companies and their Plays in Shakespeare's London makes the case that we also need to think about the companies for which dramatists wrote and with whose members they collaborated, if we wish to better understand the dramas of the English Renaissance stage.
The title Age in Love is taken from Shakespeare's sonnet 138, a poem about an aging male speaker who, by virtue of his entanglement with the dark lady, "vainly" performs the role of "some untutor'd youth." Jacqueline Vanhoutte argues that this pattern of "age in love" pervades Shakespeare's mature works, informing his experiments in all the dramatic genres. Bottom, Malvolio, Claudius, Falstaff, and Antony all share with the sonnet speaker a tendency to flout generational decorum by assuming the role of the lover, normally reserved in Renaissance culture for young men. Hybrids and upstarts, cross-dressers and shape-shifters, comic butts and tragic heroes--Shakespeare's old-men-in-love turn in boundary-blurring performances that probe the gendered and generational categories by which early modern subjects conceived of identity.In Age in Love Vanhoutte shows that questions we have come to regard as quintessentially Shakespearean--about the limits of social mobility, the nature of political authority, the transformative powers of the theater, the vagaries of human memory, or the possibility of secular immortality--come to indelible expression through Shakespeare's artful deployment of the "age in love" trope. Age in Love contributes to the ongoing debate about the emergence of a Tudor public sphere, building on the current interest in premodern constructions of aging and ultimately demonstrating that the Elizabethan court shaped Shakespeare's plays in unexpected and previously undocumented ways.