King LearSimon and Schuster, 2011 M08 23 - 384 pages Shakespeare’s King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Lear himself rages until his sanity cracks. What, then, keeps bringing us back to King Lear? For all the force of its language, King Lear is almost equally powerful when translated, suggesting that it is the story, in large part, that draws us to the play. The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. Emotions are extreme, magnified to gigantic proportions. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom—one reason this most devastating of Shakespeare’s tragedies is also perhaps his most moving. The authoritative edition of King Lear from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: -The exact text of the printed book for easy cross-reference -Hundreds of hypertext links for instant navigation -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 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 annotated guide to further reading Essay by Susan Snyder 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. |
From inside the book
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Page xxi
... holds them back, delaying them until much subordinate material has already been given. Again, emotional intensity is heightened for an audience as it listens and waits for the sentence's subject and verb. Lear uses such a delaying ...
... holds them back, delaying them until much subordinate material has already been given. Again, emotional intensity is heightened for an audience as it listens and waits for the sentence's subject and verb. Lear uses such a delaying ...
Page xxii
... Hold thee from this forever. Again, in his speech banishing Kent, Lear uses a similar delaying structure: That [i.e., because] thou hast sought to make us break our vows— Which we durst never yet—and with strained pride To come betwixt ...
... Hold thee from this forever. Again, in his speech banishing Kent, Lear uses a similar delaying structure: That [i.e., because] thou hast sought to make us break our vows— Which we durst never yet—and with strained pride To come betwixt ...
Page xlvii
... hold was less than a thousand, or about a quarter of what the Globe could accommodate. Admission to Blackfriars was correspondingly more expensive. Instead of a penny to stand in the yard at the Globe, it cost a minimum of sixpence to ...
... hold was less than a thousand, or about a quarter of what the Globe could accommodate. Admission to Blackfriars was correspondingly more expensive. Instead of a penny to stand in the yard at the Globe, it cost a minimum of sixpence to ...
Page lx
... holds that Q1 and F are distinct, independent Shakespearean versions of the play that ought never to be combined with each other in an edition. Those who hold this third theory An Introduction to This Text lxi think that Q1 was.
... holds that Q1 and F are distinct, independent Shakespearean versions of the play that ought never to be combined with each other in an edition. Those who hold this third theory An Introduction to This Text lxi think that Q1 was.
Page 15
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Common terms and phrases
action actors ALBANY answer appear arms attend bear begin bring comes Cordelia CORNWALL course daughter death dost Dover Draw Duke earlier EDGAR edition Edmund Enter example exits eyes F corr father fear Folio follow Fool fortune France further give GLOUCESTER Gloucester’s gods Goneril grace hand hast hath head hear heart hold honor keep KENT kind King Lear ACT language Lear’s less letter lines live London look lord madam master means messenger nature never night notes OSWALD perhaps plays poor Pray present printed Q1 corr Q1 uncorr quartos readers reading REGAN scene SD F seek seems sentence servant Shakespeare’s shows sister speak speech stage stand suffering tell theater thee thing thou thought true turn wind