King LearRandom House Publishing Group, 2013 M06 12 - 352 pages A 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 |
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Page ix
... disguises and emerges finally as an anonymous champion of chivalry, challenging his brother in the lists like a kn ight-errant out of Arthurian romance. Edgar's motives are hard to follow. Is he the hero of a fabulous story whose disguises ...
... disguises and emerges finally as an anonymous champion of chivalry, challenging his brother in the lists like a kn ight-errant out of Arthurian romance. Edgar's motives are hard to follow. Is he the hero of a fabulous story whose disguises ...
Page xv
... disguised as another madman (Tom o' Bedlam), and a Fool, of whom the latter two are addressed by Lear as “Thou robed man of justice" and “thou, his yokefellow of equity" (lines 36-7). They are caught up in a pastime of illusion, using a ...
... disguised as another madman (Tom o' Bedlam), and a Fool, of whom the latter two are addressed by Lear as “Thou robed man of justice" and “thou, his yokefellow of equity" (lines 36-7). They are caught up in a pastime of illusion, using a ...
Page xxi
... disguise was no longer merely “a poor shift to save his life” but rather a "generous design" to aid Cordelia. Tate also eliminated the Fool, motivated presumably by a desire to fulfill neoclassical standards of decorum that eschewed low ...
... disguise was no longer merely “a poor shift to save his life” but rather a "generous design" to aid Cordelia. Tate also eliminated the Fool, motivated presumably by a desire to fulfill neoclassical standards of decorum that eschewed low ...
Page xxviii
... disguise himself, while simultaneously onstage another disguised outcast sleeps or meditates on his ruined fortune. The two figures are not “literally” a part of the same scene; staging flexibility in the absence of scenery makes ...
... disguise himself, while simultaneously onstage another disguised outcast sleeps or meditates on his ruined fortune. The two figures are not “literally” a part of the same scene; staging flexibility in the absence of scenery makes ...
Page 35
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Common terms and phrases
Alack ALBANY bastard blind brother Burgundy Charles Dickens Child Rowland Cordelia CORNWALL D. H. Lawrence daughters dear death disguised doth Dover Duke Duke of Cornwall Edith Wharton Edmund Enter Edgar Enter Lear Exeunt Exit eyes father fear film flatter folio follow FOOL fortune France Fyodor Dostoevsky GENTLEMAN give Gloucester's gods GONERIL Goneril and Regan grace hast hath hear heart heavens honor horse i'th Jane Austen justice KENT King Lear kingdom knave Lear's Leir Leonatus letter lord madam master means MESSENGER nature never night noble nuncle Perillus pity play play's Plexirtus poor pray princes quarto RAGAN REGAN royal scene servants Shakespeare sister Skalliger speak stage stand storm Stratford-upon-Avon suffering sword Telenor tell theater thee There's thine thou art traitor trumpet unto villain wicked sisters William Shakespeare wretched