Shakespeare Books

You have here the essential Ibsen plays and some of the best criticism in one place; an invaluable resource, but more than that, a really enjoyable read.

i have not read this book in english, but in russian - super! it's very interesting book. i can say when you read it - you read it like detective with natural persons! after this book i believe that Uil§iame Shekspire was not!

Shakespeare's "Late Plays" (aka the Romances, the Late Comedies) suffer an unfortunate neglect compared to his more household-word Comedies and Tragedies and the popular Histories such as Henry IV and Richard III. The last decade has seen a greater appreciation of this hard-to-categorize set thanks to excellent theatrical performances and more scholarly attention. Dr. Nutt's "Introduction" is an enjoyable, stimulating contribution to the latter category, although it is not intended to be a stand-alone introduction for a first-time viewer/reader of these plays.

Taking these plays as a group is a very effective way to appreciate the artistic, humanistic, and spiritual directions that Shakespeare took in the last third of his playwriting career. The plays are comedies only in the sense of superficial distinction of "tragedies end in death; comedies end in marriage." In a Shakespeare Romance we are treated to stories noble characters struggling with tragic flaws, often in medieval settings with mythological processes of grace and redemption helping them through heart-wrenching failure and loss, along a path of determined courage in the face of life-threatening challenges or paralyzing emotional pain, and finally to a point of reunion and reclamation. Only in providing at least one marriage at the close of the play are these comedies; the humor is usually provided by clowns and rogues as in the sub-plots of the Tragedies.

The fanciful as well as tragi-comic story lines are often alien to modern readers, and Dr. Nutt's introduction helps us appreciate the grandeur of their artistic achievement and the perspective they offer for a modernity that still reels with emotional disasters that mingle family disruption, intrigue, and international politics.

Dr. Nutt's insightful comparative presentation also gives the lie to two misperceiving rejections of Shakespeare: 1) that his works are amoral [usually referring to his great tragedies], and 2) that his "Late Works"'s were of lower quality and probably reflected 'his fatigue with playwriting.' These are extreme dramas where triumphant joys are achieved only after enormous tragedy, with "people enduring shocking extremes of suffering, wrong and ill fortune yet responding with courage, patience, fidelity, determination and constancy." As Dr. Nutt says, one of the most distinguishing features in these creations is that they "appear determined to exhibit humanity at it most admirable."

If you appreciate Shakespeare, drama, or questions of human struggle, the little volume is to be enjoyed and pleasurably digested. One final easy shot is due the publisher: yes, you have produced a fine work in an appropriately high-quality paperback edition; your list price, however, will assure poor sales in both the general and student populations. What a shame. Fortunately, this online service offers used sales to the reader's rescue. I'd strongly encourage intermediate-level Shakespeare students to score a copy.

I found the book to be in perfect condition. Although the purchase arrived in less than two weeks I would have preferred a two-day shipment because I paid more than five dollars for the shipment.

The Medical practice of Shakespeare's Son in Law is worth a look. While John Hal's methods may seem primitive there is evidence of a care for his patients and a genuine attempt on his part to find the cause for their aliments.

This book covers the 1986 season of The Stratford Festival, from the first day of rehearsal of each production. Actually, it starts prior to the season with the selection of John Neville as artistic director.
Mr Gaines has comments from the cast, directors, designers and others that give a real insight as to what goes into putting all the productions together, on both the artistic and financial side.
This is a fascinating look at the world of one of North America's most respected theatre companies.

James Vickers' Cliffs Notes for Shakespeare's "Julius Caesar" begins with a short biography of the Bard that focuses on what little the historical record tells us about the man. A Brief Synopsis of the Play is followed by a List of Characters that not only tells us who they are but their primary roles in the play. The Summary and Commentary section of the volume breaks down the play scene by scene, and the best way of using this or any other little yellow book with the black stripes is to read the commentary after you have read each scene of the play. This is especially important with Shakespeare because the dialogue is so important and Vickers does not work in as many choice lines as some of the other Cliffs Notes for Shakespeare plays. You cannot deal with Shakespeare if you do not know the key lines. The last section dealing with Character Analyses looks as Caesar, Antony, Octavius, Brutus and Cassius, referring back to the analysis already established regarding the individual scenes. What you will not get from this volume if you are teaching/reading "Julius Caesar" is how the play touches upon the political realities of Elizabethean England. But Vickers does an excellent job throughout of capturing how Shakespeare uses the play to manipulate the audience. Remember, the celebrated funeral oration by Marc Antony is being listened to on stage by a Roman mob that is being watched by an audience of Londoners in the theater. This is one of the better jobs at capturing how Shakespeare constructed a play.

I have a pretty typical son except that he is homeschooled. Sourcebooks' Macbeth left my son with a deep understanding of Shakespeare and his style of writing; so much so that he asked for another for Christmas - and yes - now he is enjoying "Julius Ceasar" for his own sake! If you or your child has to read a Shakespeare book for whatever reason, make sure you either use or have for reference the Sourcebooks version - they explain words and phrases in terms of their meaning at the time - sentence by sentence. The CD-Rom, which comes with it, allows you to hear sections you may be struggling with as they were performed in famous Shakespeare productions. Also, just FYI, out of several Macbeth movies, we very much liked the BBC version: extremely well performed, with beautiful Scottish settings and realistic costumes (we rented through Netflix).

Like du Maurier's Rebecca or Tolkien's Sauron, Julius Caesar is to the play which bears his name less a focal presence than a force largely off-stage which provokes the choices and actions of the more evident characters. Caesar does put in several brief appearances during the first three acts, but it is Marcus Brutus whose nobility, naivete, seduction, treachery, rationalization, and ultimate downfall make up the overarching plot. Shakespeare here avoids taking sides, however, and so provides us with a shrewd study in the diverse motives and attitudes that always precede insurrection, and in the chaos that inevitably follows.


As with most of the Arden series, this critical edition represents superior scholarship and valuable reader assistance. Its extensive footnotes should illumine most instances of unfamiliar language or allusion, and an Appendix provides relevant excerpts from Plutarch's LIVES, which Shakespeare consulted for many of his details. Those new to JULIUS CAESAR, however, are best advised to begin with the text of the play itself (in the volume's central section), saving the so-called 'Introduction' until afterwards; for Daniell's excellent discussion relies heavily on citations of the play's content, and his insights are apt to be lost on the reader who has, as yet, little or no frame of reference.


It should be noted, too, that the Arden Shakespeare editions are best suited to serious students and amateurs already acquainted with the Bard and aspiring to more advanced appreciation. Having come late to the field myself, I mean no condescension in suggesting that someone just setting out may find the wealth of material here a bit overwhelming. The potential rewards of Shakespearean discovery are incalculable, and it is always tragic when worthy ambition burns itself out, for want of patience, by attempting too much too soon. I began with more modest editions, such as the Signet Classics or Pelican, which I found very accessible and sufficiently annotated to provide the help I then needed. Arden, which has been issuing and revising its series since 1899, will still be around when one is ready for it.

I consider this play by Shakespeare an exquisite masterpiece. This is a unique piece of literature in that we can see that life is not usually a battle between good and evil, but rather a battle between people with different views. Cassius and Caesar both have traits that present them as ambitious and dangerous. Yet, Shakespeare also leads us into having great sympathy for both of them at times. Cassius honestly fears that Caesar will be the terror of Rome. And yet, we can also understand that Caesar knows that to be an effective ruler, he must maintain a strong autocratic hold. Brutus is tricked into joining the conspiracy, but honestly feels that he is serving Rome, and even when things get difficult he holds on to the situation with both hands up until the very end. Mark Antony sees Caesar's death as the start of chaos in Rome and he does his absolute best to crush the conspiracy and restore order. It is interesting that rather than gloating over his victory he offers his respect to his defeated foe. But "Julius Caesar" also offers interesting psychological moments. While Cassius and Brutus are very different people, they manage to stick together through the consequences of their actions. Mark Antony shows himself to be a master of psychology when in 3.2, he wins over the multitude Brutus had won over moments earlier. (This is not an invention of Shakespeare's. It really happened.) It is also an interesting psychological aspect that Mark Antony first appears as little more than a servant to do Caesar's bidding. Yet, when Caesar is killed, Mark Antony clearly shows himself to be the most intelligent and able person in the play. He grabs control with both hands and uses it in a more effective manner than anyone. We must not neglect the women in the play either. The appearance of Caesar's wife is brief, but she clearly shows herself to be a loyal and devoted wife. Furthermore, this helps us see the domestic aspect of Caesar's tragedy. Also, the appearance of Brutus' wife helps us to see that Brutus' concern over Rome's well being has struck him so much that his domestic life has taken a back seat. Also, Shakespeare makes use of bad omens like the soothsayer who warns Caesar (as well as all of us) of the dangers to come. When the ghost of Caesar appears to haunt Brutus, it would seem that Caesar becomes to Brutus, what the soothsayer was to him. Finally, I can not overestimate the mastery of Shakespeare's writing when the first 3 acts lead up to the brutal slaying of Caesar. And, just when we think the worst has happened, Mark Antony delievers his soliloquy and makes it clear that the game has only started. In addition to the play, I highly suggest the old (1953) black and white movie where James Mason does Brutus and Marlon Brando does Mark Antony.