King LearA king foolishly divides his kingdom between his scheming two oldest daughters and estranges himself from the daughter who loves him. So begins this profoundly moving and disturbing tragedy that, perhaps more than any other work in literature, challenges the notion of a coherent and just universe. The king and others pay dearly for their shortcomings–as madness, murder, and the anguish of insight and forgiveness that arrive too late combine to make this an all-embracing tragedy of evil and suffering. Each Edition Includes: • Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English • Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography |
From inside the book
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Page vii
"King Lear," wrote the early nineteenth-century Romantic poet Percy Bysshe Shelley in his Defence of Poetry, "may be judged to be the most perfect specimen of the dramatic art existing in the world." For all the Romantics, ...
"King Lear," wrote the early nineteenth-century Romantic poet Percy Bysshe Shelley in his Defence of Poetry, "may be judged to be the most perfect specimen of the dramatic art existing in the world." For all the Romantics, ...
Page ix
Johnson had some sympathy with this alteration, which held the stage for a century and a half, whereas for Lamb it was yet one more indication that the theater was not to be trusted with Shakespeare's sublime vision of universal despair ...
Johnson had some sympathy with this alteration, which held the stage for a century and a half, whereas for Lamb it was yet one more indication that the theater was not to be trusted with Shakespeare's sublime vision of universal despair ...
Page xi
The position articulated here is close to that of the sixteenth-century French essayist Michel de Montaigne in the closing section of his Apology of Raymond Sebond any custom abhorred or outlawed by one nation is sure to ...
The position articulated here is close to that of the sixteenth-century French essayist Michel de Montaigne in the closing section of his Apology of Raymond Sebond any custom abhorred or outlawed by one nation is sure to ...
Page xii
But for the great sixteenth-century humanist Desiderius Erasmus in his Praise of Folly, there is inhumanity in the notion that to be wise you must suppress the emotions. The most important thing is to "feel"—as Gloucester has to learn, ...
But for the great sixteenth-century humanist Desiderius Erasmus in his Praise of Folly, there is inhumanity in the notion that to be wise you must suppress the emotions. The most important thing is to "feel"—as Gloucester has to learn, ...
Page xiii
... the heart of that man whom it possesseth from all wonted carefulness, and rendreth it divers ways much recreated with new delectation” (Praise of Folly, in the sixteenth-century English translation of Sir Thomas Chaloner).
... the heart of that man whom it possesseth from all wonted carefulness, and rendreth it divers ways much recreated with new delectation” (Praise of Folly, in the sixteenth-century English translation of Sir Thomas Chaloner).
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User Review - thornton37814 - LibraryThingThis full-cast audio recording tells the story of King Lear who unwisely divided his inheritance based on his perception of how much each daughter loved him. We see how this leads to a life of ... Read full review
LibraryThing Review
User Review - Kristelh - LibraryThingI read (listened) to this after reading A Thousand Acres by Jane Smiley. I enjoyed both very much. Read full review
Contents
Textual Notes | 122 |
ScenebyScene Analysis | 142 |
The RSC and Beyond | 156 |
Shakespeares Career in the Theater | 203 |
A Chronology | 218 |
References | 226 |
Other editions - View all
Common terms and phrases
actor Albany answer appears arms asks audience bear beginning blind bring cause century character comes Cordelia Cornwall corrected daughters death directed draw Duke Edgar Edmund Enter Exit eyes father feel Folio Following Fool fortune France GENTLEMAN give Gloucester Gloucester's gods Goneril grace half hand hath head hear heart human keep KENT kind King Lear kingdom lead Lear's leave letter Lines live look lord master means mind nature never night Noble Oswald performance perhaps play poor production Quarto question reason Regan role running scene seems sense servant Shakespeare sister speak speech stage stand storm suggests tell theater thee things thou thought Tragedy true turn