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A balanced editorial approach, a highly respected editor, and comprehensive glosses, footnotes, and historical and cultural essays make this the most reader-friendly introduction to Shakespeare available today. The seventh edition of this comprehensive anthology addresses the two key issues confronted by readers approaching Shakespeare today: a lack of knowledge about the historical period and difficulty with the language of Shakespeare's plays. A richly illustrated general introduction offers insight into Shakespeare's England and background on the literary and cultural contexts in which Shakespeare wrote and produced plays. Each play is introduced by a descriptive essay designed to help the reader appreciate the cultural contexts and interpretive issues raised by the play -- without dictating their interpretations. Thoroughly revised and updated notes and glosses provide additional support to understanding the language of Shakespeare's time.
- Sales Rank: #228739 in Books
- Brand: Brand: Longman
- Published on: 2013-01-08
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 1.90" w x 8.20" l, .0 pounds
- Binding: Hardcover
- 2016 pages
Features
- Used Book in Good Condition
About the Author
David Bevington is a highly respected editor and Shakespearean scholar. He is Phyllis Fay Horton Distinguished Service Professor Emeritus. He taught drama at the University of Chicago, focusing on Shakespeare and his contemporaries (Jonson, Marlowe, Webster, Middleton, Dekker, etc.), as well as medieval drama and then the entire sweep of Western drama from Aeschylus and Sophocles down to Caryl Churchill and Tom Stoppard. In addition to courses on Shakespeare, Renaissance drama, and medieval drama, he co-taught in Theater and Performance Studies ((variously with Heidi Coleman, Director of University Theater, John Muse, English Department, and Drew Dir, resident dramaturg at Court Theatre) a two-quarter sequence called The History and Theory of Drama from the 5th century B.C. down to the present day. "One of the most learned and devoted of Shakespeareans," so called by Harold Bloom, he specializes in British drama of the Renaissance, and has edited and introduced the complete works of William Shakespeare in both the 29-volume, Bantam Classics paperback editions and the single-volume Longman edition. He also edits the Norton Anthology of Renaissance Drama and an important anthology of Medieval English Drama. Bevington's editorial scholarship is so extensive that Richard Strier, an early modern colleague at the University of Chicago, was moved to comment: "Every time I turn around, he has edited a new Renaissance text. Bevington has endless energy for editorial projects." In addition to his work as an editor, he has published studies of Shakespeare, Christopher Marlowe, and the Stuart Court Masque, among others, though it is for his work as an editor that he is primarily known.
Most helpful customer reviews
265 of 278 people found the following review helpful.
The best and most helpful single-volume edition
By Joost Daalder
Students and various e-mail correspondents often ask me which single-volume Shakespeare edition I would recommend, and I never hesitate in naming this one, as I think it has a long lead over its rivals. I have myself used the 1992 printing with amazing frequency both in research and in teaching, and always with advantage.
Why is this the best edition for a reader who wants as much as possible within the confines of a single book? First, it should be pointed out that unannotated editions such as the Oxford Complete Works are all in all of comparatively little use as even expert Renaissance scholars - leave alone inexpert readers - cannot read Shakespeare's language unaided; there are simply far too many words, features of grammar, etc., which a modern reader is certain to interpret inaccurately or not to understand at all. So it is essential to have intelligent and well-informed annotation that will help one to understand the text. Bevington's is extraordinarily good: knowledgeable, precise, and helpfully clear.
Second, an editor needs to be able to produce a responsible modernised text. Shakespeare cannot be understood by many unless he is read in modern spelling, and the punctuation of his period, too, often leads most modern readers astray. Bevington's modernisation of the text is exemplary. Furthermore, his handling of the many thorny textual problems is also outstanding for the knowledge and the judgement that he brings to bear. For example, the Oxford people unwisely and on poor grounds print two separate versions of *King Lear*, and Bevington has been exceptional in rejecting that approach and producing a persuasively and intelligibly "conflated" text (much better, by the way, than the conflated version in the Arden text edited in 1997 by R.A. Foakes).
Most readers of the plays who are not already quite familar with them will want good, perceptive and comprehensive introductions to them, and in this area, too, Bevington excels, demonstrating an awareness of modern approaches and interests without falling victim to trendiness. He offers introductions which are never dull but, however exciting and illuminating, always sensible.
The general introductory and accompanying material made available elsewhere in the book is equally useful, revealing, and accurate; and the book is well produced. It is amazingly cheap for the remarkable value it offers.
This, then, is not only the best single-volume Shakespeare available, but is by any standard as good an edition as anyone could possibly expect. I add that in my personal view Bevington is probably the only scholar at present alive who could have produced so excellent a single-volume edition. Unreservedly recommended. NOTE: this is a specific review of the FOURTH edition, which to my mind is by far the best, and the only one which I unhesitatingly recommend.
300 of 317 people found the following review helpful.
The death knell for eclectic texts
By Charles S. Houser
Perhaps, like me, you have held on to the Complete Works of William Shakespeare you've had since college and are wondering if the world really needs yet another edition of the Bard's complete output. Well, the Modern Library edition of the Royal Shakespeare Company's Shakespeare has a lot to recommend it. The text is beautifully set in single column format, making it easier for actors and those who wish to read the text aloud to scan the poetic lines and to distinguish between poetry and prose. Jonathan Bates's General Introduction is comprehensive, engaging, and lively. As with the introductions to the individual plays, Bates gives special attention to the performance traditions from which these plays emerged as well as those which would shape their interpretation over the centuries. This concern for performance issues is also addressed in the "Key Facts" boxes that follow every play introduction. Here the editors summarize the plot, identify the major parts (with percentage of lines and number of speeches assigned to each character, etc.), take a stab at identifying a dates of composition and first performance, and discuss the plays' sources and state of the texts available. There are ample, but not an overwhelming number of footnotes. And these notes, Bates assures us, do not shy away from discussion of Shakespeare's bawdier puns (something that may not be true of your old college textbook). Another real plus is the inclusion of a fragmentary scene from "Sir Thomas More" based on the only manuscript known to be in Shakespeare's own hand.
But the best reason to buy the RSC Shakespeare is because the editors have gone to great lengths to preserve the First Folio (1623) edition of Shakespeare. They have modernized the spelling and punctuation and have read (and corrected) the text against Quarto texts where these exist, but have not recklessly blended Quarto and Folio texts, something most previous editors have done with impunity for generations. The editors make a strong case for the Folio texts being the best versions available and respecting their "purity" makes it possible for readers and those preparing new stagings to grapple with textual variants in a thoughtful and respectful manner. It seems that Shakespearean textual critical work is finally taking on the discipline of biblical criticism. Let's hope the results will be equally illuminating and revolutionary.
108 of 111 people found the following review helpful.
A brilliantly simple idea
By Tad Davis
The idea behind this edition is brilliantly simple: produce a modern edition of the First Folio. The editors do not attempt to produce a "definitive" text of Shakespeare. Their goal is more modest: to reconstruct, as closely as possible, the material that Heminges and Condell brought into the printing house in 1623. It is, they say, a snapshot of the playtexts at one stage in their evolution.
The various quarto and octavo editions are used to correct the Folio text (where that is obviously corrupt) but not to supplement it. Passages excised from the Folio are printed here in appendices and textual notes. Plays that didn't appear in the Folio appear in a different format in the back. (So too with the poems and sonnets.) If passages vary in wording between the early editions, the Folio receives precedence, as long as it makes sense.
The notes are also quite extensive about vocabulary and are franker than usual about sexual matters. The notes about historical events are not as extensive as those in the Riverside, but the chronologies, introductions, and other supplementary materials do provide the basic background. The introductions, by Jonathan Bate, are concise and steer a middle course between dramatic / thematic issues on one hand and developmental / textual issues on the other.
Like the Norton Shakespeare, the plays are here printed in single-column format, which greatly aids readability. Unlike the Norton, which prints the plays in approximate chronological order, the plays are printed here in the order they appeared in the First Folio. Highly recommended.
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