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
Results 1-5 of 70
Page xi
... seen at the end of Act 1 , Scene 4 , after Lear and his knights have overturned furniture in their dining hall , in Peter Brook's production for the Royal Shakespeare Theatre , 1962 ( courtesy of the Shakespeare Centre Library ...
... seen at the end of Act 1 , Scene 4 , after Lear and his knights have overturned furniture in their dining hall , in Peter Brook's production for the Royal Shakespeare Theatre , 1962 ( courtesy of the Shakespeare Centre Library ...
Page xvi
... seen a number of productions , and looked at films of , or based on , the play . Probably I am no longer conscious of many ways in which my thinking has been affected as a result , so let me offer a general acknowledgement , and express ...
... seen a number of productions , and looked at films of , or based on , the play . Probably I am no longer conscious of many ways in which my thinking has been affected as a result , so let me offer a general acknowledgement , and express ...
Page 2
... seen as a kind of parallel to Samuel Beckett's Waiting for Godot and Endgame , and ' above all others the Shakespearean play of our time ' ( Kott , 162 ) . It has seemed to some the play of our time in being open to nihilistic ...
... seen as a kind of parallel to Samuel Beckett's Waiting for Godot and Endgame , and ' above all others the Shakespearean play of our time ' ( Kott , 162 ) . It has seemed to some the play of our time in being open to nihilistic ...
Page 9
... seen in the contrast between plain speech and rhetoric ; the play generally favours directness and simplicity , but the temptation to align plain speaking with goodness and rhetoric with flattery or hypocrisy should be resisted , for ...
... seen in the contrast between plain speech and rhetoric ; the play generally favours directness and simplicity , but the temptation to align plain speaking with goodness and rhetoric with flattery or hypocrisy should be resisted , for ...
Page 13
... seen the play primarily in relation to the Jacobean age or to their own contemporary world , rather than to the period when Lear is said to have reigned . A striking feature of productions of King Lear from David Garrick in 1756 to ...
... seen the play primarily in relation to the Jacobean age or to their own contemporary world , rather than to the period when Lear is said to have reigned . A striking feature of productions of King Lear from David Garrick in 1756 to ...
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