King LearPenguin, 1998 M06 1 - 352 pages The Signet Classics edition of one of William Shakespeare’s greatest tragedies. Full of cruelty and betrayal, King Lear is the timeless and tragic story of a kingdom held in the thrall of an aging ruler’s descent into madness. Desperate for praise, he banishes those who would guide him with honesty and surrounds himself with sycophants—an action that leads to his ultimate downfall.... This revised Signet Classics edition includes unique features such as: • An overview of Shakespeare's life, world, and theater • A special introduction to the play by the editor, Russell Fraser • Selections from Raphael Holinshed's Chronicles of England, Scotland, and Ireland, Sir Philip Sidney's Arcadia, and The True Chronicle History of King Lear, the sources from which Shakespeare derived King Lear • Dramatic criticism from Samuel Johnson, A. C. Bradley, John Russell Brown, and others • A comprehensive stage and screen history of notable actors, directors, and productions • Text, notes, and commentaries printed in the clearest, most readable text • And more... |
From inside the book
Results 6-10 of 83
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... speak English, and we in the audience never give this odd fact a thought. Similarly, a character may speak in the presence of others and we understand, again without thinking about it, that he or she is not heard by the figures on the ...
... speak English, and we in the audience never give this odd fact a thought. Similarly, a character may speak in the presence of others and we understand, again without thinking about it, that he or she is not heard by the figures on the ...
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... speak prose. Rather, we normally utter repetitive, shapeless, and often ungrammatical torrents; prose is something very different—a sort of literary imitation of speech at its most coherent. Today we may think of prose as “natural” for ...
... speak prose. Rather, we normally utter repetitive, shapeless, and often ungrammatical torrents; prose is something very different—a sort of literary imitation of speech at its most coherent. Today we may think of prose as “natural” for ...
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... speak a couplet as they leave the stage, suggesting closure; (3) except in the latest plays, scenes fairly often conclude with a couplet, and sometimes, as in Richard II, 2.1.145-46, the entrance of a new character within a scene is ...
... speak a couplet as they leave the stage, suggesting closure; (3) except in the latest plays, scenes fairly often conclude with a couplet, and sometimes, as in Richard II, 2.1.145-46, the entrance of a new character within a scene is ...
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... speak a sonnet between them; elsewhere a taunting reply occasionally rhymes with the previous speaker's last line; (5) speeches with sententious or gnomic remarks are sometimes in rhyme, as in the duke's speech in Othello (1.3.199-206); ...
... speak a sonnet between them; elsewhere a taunting reply occasionally rhymes with the previous speaker's last line; (5) speeches with sententious or gnomic remarks are sometimes in rhyme, as in the duke's speech in Othello (1.3.199-206); ...
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... speak of reason to the Dane And lose your voice. What wouldst thou beg, Laertes, That shall notbe my offer, not thy asking? (1.2.42-46) Notice the short sentences and the repetition of the name “Laertes,” to whom the speech is addressed ...
... speak of reason to the Dane And lose your voice. What wouldst thou beg, Laertes, That shall notbe my offer, not thy asking? (1.2.42-46) Notice the short sentences and the repetition of the name “Laertes,” to whom the speech is addressed ...
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Common terms and phrases
action actors Albany audience better characters comedy Cordelia Cornwall costumes daughters death dost doth drama Duke Duke of Cornwall Edmund Elizabethan Enter Edgar Enter Lear evil Exeunt Exit eyes F omits F prints father feel Folio follow Fool fortune Gentleman give Gloucester’s gods Goneril Hamlet hast hath heart heavens honor i’th Kent King Lear king’s knave lady Lear’s Leir lines look lord Macbeth madam man’s master Merchant of Venice Midsummer Night’s Dream mind nature never night noble Nuncle o’th Oswald Othello performance perhaps Perillus pity play’s playwright poor pray prose Q corrected Quarto Regan roles Romeo and Juliet s.d. Enter Scena scene seems servant Shakespeare Shakespeare’s plays sister speak speech stage direction storm tell theater theatrical thee there’s thine things thought tragedy trumpet Twelfth Night villain William Shakespeare words