King Lear: Third SeriesBloomsbury Publishing, 2014 M09 25 - 455 pages 'By far the best edition of King Lear - in respect of both textual and other matters - that we now have.'John Lyon, English Language Notes'This volume is a treasure-trove of precise information and stimulating comments on practically every aspect of the Lear-universe. I know of no other edition which I would recommend with such confidence: to students, professional colleagues and also the 'educated public'.'Dieter Mehl, Shakespeare Jahrbuch, vol 134 |
From inside the book
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Page ix
... role in 1756 , restoring some of Shakespeare's lines changed or omitted by Nahum Tate ( courtesy of the Harvard Theatre Collection , I larvard College Library ) 14 3 Portrait of King James I , with crown , orb and sceptre , from the ...
... role in 1756 , restoring some of Shakespeare's lines changed or omitted by Nahum Tate ( courtesy of the Harvard Theatre Collection , I larvard College Library ) 14 3 Portrait of King James I , with crown , orb and sceptre , from the ...
Page xiv
... roles ( so headed to emphasize the play's status as a text for performance ) is also considered in commentary notes . These may include comment on plausible patterns of casting with the resources of an Elizabethan or Jacobean acting ...
... roles ( so headed to emphasize the play's status as a text for performance ) is also considered in commentary notes . These may include comment on plausible patterns of casting with the resources of an Elizabethan or Jacobean acting ...
Page xvii
... role of the Fool were developed in “ Textual Revision and the Fool in “ King Lear ” ' , Trivium , 20 ( 1985 ) , 33–47 . The problem of textual differences between Quarto and Folio in 3.1 , discussed briefly in Appendix 1 , is analysed ...
... role of the Fool were developed in “ Textual Revision and the Fool in “ King Lear ” ' , Trivium , 20 ( 1985 ) , 33–47 . The problem of textual differences between Quarto and Folio in 3.1 , discussed briefly in Appendix 1 , is analysed ...
Page 19
... role dressed in scarlet and 1 The response to this question in both texts is also startling . In Q Lear himself cries , ' Lear's shadow ' , suggesting already a consciousness that he has lost authority ; in F the Fool speaks these words ...
... role dressed in scarlet and 1 The response to this question in both texts is also startling . In Q Lear himself cries , ' Lear's shadow ' , suggesting already a consciousness that he has lost authority ; in F the Fool speaks these words ...
Page 20
... roles at the end of the play . It would add to the dramatic irony and poignancy of this scene ( 4.7 ) if Lear were dressed again in robes befitting a monarch , as former stage tradition suggests ; - for visually there is an echo of the ...
... roles at the end of the play . It would add to the dramatic irony and poignancy of this scene ( 4.7 ) if Lear were dressed again in robes befitting a monarch , as former stage tradition suggests ; - for visually there is an echo of the ...
Contents
1 | |
KING LEAR | 153 |
Two textual problems | 393 |
Lineation | 403 |
Abbreviations and references | 416 |
Index | 430 |
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Common terms and phrases
action Albany appears arms audience authority becomes calls Capell changes character comes Cordelia Cornwall daughters death Duke Edgar edited Edmund effect Enter Exit eyes F lines father feel Folio follow Fool forces France give Gloucester Gloucester's gods Goneril hand hath head heart Holinshed Hunter idea Introduction Kent kind King Lear knights land later Lear's letter look lord mark matter meaning mind nature never notes omitted opening Oswald perhaps play Poor possible present printed production prose Q and F Quarto reading recalling reference Regan relation role scene seems seen sense servant Shakespeare shows sister speak speech stage stand suffering suggests thee Theobald thing thou tion turn