Shakespeare Books

Wildlife researchers and conservationists Delia and Mark Owens have spent much of their lives since 1974 in the African bush, first in the Kalahari Desert from which came their best seller "Cry of the Kalahari" and then in the North Luangwa Valley in Zambia, the setting of this 1992 book.

The Owens' passion leads them to risk their lives routinely. In searching for a suitable camp in North Luangwa they set out in an ancient truck with no radio and inadequate gear. After a grueling trek that would have sent sane mortals packing for home they separate so Mark can fly his Cessna to a site that "would make Cessna's insurance company shudder" while Delia makes the two-day trip alone with the old truck and a trailer over trackless hilly, bushy, gully-filled flood-plain terrain. Tracking animals they are constantly walking smack into a startled lion or buffalo or cornered elephant.

But the real danger comes from people. "The Eye of the Elephant," while filled with wildlife anecdotes and tidbits of information about elephants and lions, is really about the poaching war the Owens conducted on behalf of the besieged North Luangwa elephants.

The poachers are villagers, many armed with AK47s, backed by the local government and assisted by the corrupt and underequipped local game guards. The Owens' weapons are education, cottage industry projects financed by the Owens Foundation for Wildlife Conservation and the Cessna.

The battle starts genially with children exclaiming over magazine pictures and their parents joining sewing circles and carpentry workshops. But it quickly escalates until Mark drives Delia from him with his obsession for highly dangerous and only modestly effective night flights, and the poachers organize an assassination squad to rid themselves of the Owens once and for all.

The book is organized in alternating first-person chapters between Delia and Mark. The tone is brutally honest, touching when one admits to mistakes which endanger the other, disturbing when their frank discussion of anti-poaching tactics veers from the politically correct. The Owens' care more for the animals and the landscape than the people. But since the people are there, their needs must be faced. Their singlemindedness will outrage some, but their strong personalities and sheer stamina will awe almost everyone.

York County Coast Star

The Eye of the Elephant is a wonderful, adventurous journey into the heart and soul of Africa seen through Mark and Delia's eyes. From the very first page you are caught up in their heroic quests to protect the animals they are there to observe. In spite of the unbelievable odds against them, they persevered and put the safety and security of the highly endangered animals FIRST. The elephants in the Luanga Valley are very fortunate to have had Mark and Delia watch over them and be their heroes. I have loved Africa and the African elephant my entire life and I am so grateful for these two selfless, dedicated people who have become the protectors of our most precious wildlife. This is one of my most treasured African stories.

You will immediately be drawn into their story! I was so involved reading this book that I missed my train station stop...you'll feel like you're there with them!

This book is laden with fascinating information on African Wildlife and how to survive as human and animal in harsh conditions. Excellent read.

I wish these authors would write more books about their adventures in Africa. Truly riveting page-turners!

I love every one of JA Jance's novels.The JP Beaumont and Joanna Brady series are my favorites. I have thoroughly been gripped by every one.

Failure to Appear J.A. Jance does it again in this 11th J.P. Beaumont mystery novel. Unlike most of the previous books, this one starts out, not with a crime, but with a personal mission. Detective Beaumont ("Beau" to his friends and associates) has left his Seattle home area to look for his runaway teenage daughter in an artsy community in Oregon. Of course, as anyone could have expected, violent crime soon intrudes.

For those who are familiar with this series, you can be assured that it is true Jance writing: characters who act like real people; a fast-moving story; plenty of self-deprecating humor; and a sterling protagonist who is all too aware of his not inconsiderable faults.

For those who are not familiar with J.P. Beaumont or Jance's Joanna Brady, who appears in a separate series, you have the pleasure of delightful discovery to look forward to. There are lots of books in this series. I've read 12 so far (and a bunch of the Brady ones, too) and I have yet to be disappointed with any of them.

If you're one who likes to start at the beginning of a series (which I think is not a bad idea with this one, for a number of reasons), the first is "Until Proven Guilty". However, if this isn't important to you, you can't go wrong with this or any of Jance's books, if you're in the mood for a fast-moving mystery novel with a bit more than usual in the way of character development.

My Wife reads these, and loves them! Looks like another all nighter to me!

In "Failure to Appear" lone-wolf Seattle homicide detective J.P. "Beau" Beaumont finds himself a fish out of water surrounded by family in southern Oregon and on the outside of a murder investigation.

Quite often, when a mystery author tries to fit so much of a protagonist's personal life into a book, the plot drags to a halt and the investigation into the crime is treated superficially because the focus is on massive character development. Jance manages to keep things moving at a fast clip and provide a mystery that is as multi-faceted as her lead character's personal difficulties. Beau has a lot to deal with in this book: a daughter who starts out a missing person and winds up pregnant and about to be married, a re-married ex-wife and her husband, a new girlfriend, a murder suspect that awakens painful memories, the siren song of a bottle of MacNaughton's, and a couple police officers out to nail his hide to a wall - not to mention the book's three murder victims or the loved one Beau loses in the course of the investigation.

There are a few nits that could be picked (Oregon vanity plates don't have 8 letters, for instance), but the quality of the rest of the book more than compensates. All in all, a great read.

This was the first Jance book I encountered. I decided to read it because it takes place in the town I live and work in. As much as I enjoyed reading about the places and cities I know well what I really enjoyed was the character of JP Beaumont. He is an ordinary man (a Seattle Cop wih an extraordinarily inherited fortune) who is caught between his work and his family. The characters seem very real and Jance's writing gives them a life and humanity that appeals strongly and makes you really care about them. The story never lets up either and you will find yourself hard pressed to put the book down. I have read every book Jance has written now and she is always on the top of my list of series that I am waiting for the next installment of!

I love, love, LOVE this play.

It is wrought with the same care and cleverness of the Bard Himself. It is a Cinderella story with a feminist twist, with oodles of authentic Shakespeare woven right in. It borrows from the best of Shakespeare's comedy, complete with a breeches role.

Every single character is absolutely hilarious and drawn with a deft hand.

Fabulous.

I love this play! I would love to have my students perform it, but alas there are one or two pages that are a little too suggestive for the innocents in our cohort.
I actually enjoyed this play more than I enjoyed Rosencrantz and Guildenstern are Dead. It is witty and clever with just enough tongue-in-cheek.

Two reviewers from HS drama clubs, and one comparison to Japanese anime. Don't let that mislead you into thinking this is some lightweight juvenile fluff. It is more in the line of Tom Stoppard's Rosencrantz & Guildenstern Are Dead. As someone who has loved reading and watching Shakespeare's plays for over 35 years, I am delighted to see Ann-Marie MacDonald not only play with Shakespeare but do it intelligently. Amidst the linguistic and theatric whimsey there are some true and serious observations and the best explanation yet of why some characters in Shakespeare's tragedys are such idiots. Who says learning can't be great fun?

Just finished a production of this at our school - absolutely halarious. Very, very much recommended for high school theater. Absolutely great

"Goodnight, Desdemona (Good Morning, Juliet)" is the funniest play I have ever read or seen. I am currently playing Constance in a high school production of the play, and the more we go along, the more we discover about the play. Upon first reading, it is an absolutely hilarious twist of Shakespeare's "Othello" and "Romeo and Juliet." But reading it a second, and even a third time will reveal subtle innuendos and wordings (warning: LOTS of sexual innuendos in this play!) that contain so much wit and humour that your respect for Anne-Marie MacDonald will grow with every scene. HIGHLY RECOMMENDED. If you can familiarize yourself with the plots of both "Othello" and "Romeo and Juliet" before reading or seeing the play, then your enjoyment will increase, because you will have a basic understanding of how the characters have been re-interpreted. OH MY GOODNESS -- READ THIS PLAY!

Although a student reading Hamlet for the first time could benefit from the text of the play and the plethora of notes interspersed in the text, the serious Shakespearean scholar will find rich material in Harold Jenkins 159 page introduction and the extensive longer notes at the end of the play.
The careful scholarship and footnotes in this volume are in the tradition of the Arden Shakespeare editions. The clear, thoughtful writing of Editor Harold Jenkins in the introduction goes beyond scholarship to touch highly effective communication.

Having spent the greater part of the last 8 years obsessing over Hamlet, having read it more times than there are days in the year, and having owned many different editions of the play, the Harold Jenkins Arden Shakespeare edition is the version I have worn out and in which I have blackened the margins.

Both scholars looking for a comprehensive history of the play and those approaching it from the theater standpoint will find this edition most useful. The readiness is all.

When Henry James sat down to write on his Venetian travels for what later became the Italian Hours, he began with a disclaimer: "It is a great pleasure to write the word; but I am not sure there is not a certain impudence in pretending to add anything to it." Turning to Shakespeare, we might amuse ourselves by writing on, say, Hamlet, but can anything be said that's not already been said, and better, a dozen times, by superior critics and closer readers? In the appropriate spirit of humility (and in utter submission to the Bard and his great gift to civilization), I offer a few thoughts on the Arden 2nd Edition of Hamlet, and not on "the greatest work in the history of literature."

Hamlet is by far the longest of the Ardens at 574 pages. It breaks down thusly: the prefatory material of editor Harold Jenkins - one of the Arden Series general editors and a Hamlet authority of great renown - alone takes up 164 pages. Three-quarters of this is bibliographical and historical. In his 40-page critical introduction, Jenkins addresses many of the plays thorniest problems, with the Talmudic attentiveness of the closest reader. Then comes the play itself, spread over 264 pages (in terms of sheer length relative to the Bard's other plays, the text is a monster, coming in at more than 3800 lines). Each page of the Arden includes an average half-page of Jenkins' detailed, argumentative, authoritative, and uncommonly helpful footnotes. The final 146 pages consist of longer (end)notes that Jenkins simply could not physically fit onto the bottom of a page. Many of these are short essays (including an appendix that glosses an earlier discussion on the dating of the play).

Each of the Arden Hamlet's three sections might merit separate publication (after a modest bit of repackaging), but as a totality, Jenkins' edition must be the greatest value on the Shakespeare market. Jenkins' ruminations on the provenance of the story and the many sources Shakespeare might have drawn on, the "Ur-Hamlet" that might have come from the quill of contemporary Thomas Kyd (The Spanish Tragedy), the complexities of determining an authoritative text, the drama's inconsistencies and unanswered questions, the import of the great soliloquy of III.i (which is emphatically NOT, insists Jenkins, a deliberation on whether to commit suicide), Elizabethan revenge dramas in general, and so much more make this a truly indispensable, illuminating, even breathtaking volume.

We think we know this play well. We have read it, and seen performed on stage and in memorable or hideously forgettable films. Many of its greatest lines are embedded in our hearts. The beginning of true understanding, however, resides in a superbly annotated scholarly edition. The Arden is one of several choices you can make and is for me the one to own, equally suitable for students, scholars, actors, and mere Bardolators. It will - provided, of course, you are not already a scholarly specialist in Elizabethan drama - knock the scales from your eyes. And until the 3rd edition now in preparation under Ann Thompson is published, this Hamlet will stand as the epitome of the Arden Shakespeare's greatness as a series.

As one who collects editions of HAMLET, I can say without reservation that the Arden (2nd edition) is the hands-down best edition you can buy of the greatest work in our language. The notes are as complete as can possibly be expected, and offer the best insight I've yet to see concerning the various "problems" in HAMLET. Its comprehensive look may be too much for a person approaching the play for the first time, but for the serious student of HAMLET it's essential.

I love William Shakespeare: he is my favorite writer. Hamlet was the first play that I read, and it instantly became my favorite. My grandmother is a retired English professor, and so she likes to keep a collection of all the famous works. Arden was the series of choice, and therefore 1/2 of a bookshelf is dedicated just to it. I thought that the footnotes were extremely helpful in the Arden Edition of Hamlet, and that the way the page was set up it was easy to read, and preferrable to other books' layout. There were no long paragraphs that told you basically what the whole play was about, and I found that helpful: it's more fun to try to understand it on your own. I have viewed about five other versions of "Hamlet", and I still have not seen one that compares to this one.

This is my second No Fear Shakespeahere book (last year had Macbeth) and I have come to love Shakespheare plays now that I actually know what each character is saying and what exactly is going on. The lines are clean and clear just like reading a modern play. I acutally find myself laughing at lines which is always a good sign meaning that I understand what's going on. Also I don't feel like I'm cheating like when people just read footnotes and summaries. I'm in college now and I've only read two shakespheare both using No Fear Shakespheare! Great product that I without a doubt will use in the future if needed!

This book is definitely God's gift to all college students. Truly easy to understand, I read the entire book in 1 day. Thanks to "No Fear" I got an "A" in my English class.

Bravo to the writers, editors, and publishers of the entire No Fear Shakespeare series. Rendering Shakespeare into prosaic, colloquial American English not only explains what Shakespeare was saying, but reveals how much better he said it! Here's a few examples from HAMLET:

Hamlet sees the Ghost, but his mother doesn't. In modern lingo, she says, "This is only a figment of your imagination." That's a cliche. In the original, she says, "This is the very coinage of your brain." That's vivid.

Rosencrantz tells Hamlet in modern lingo, "You're not doing yourself any good by refusing to tell your friends what's bothering you." Sounds like a reprimand. The original line sounds like a threat: "You do surely bar the door upon your own liberty if you deny your griefs to your friend."

Hamlet remembers his mother's relationship with his father: "She would hang on to him, and the more she was with him the more she wanted to be with him; she couldn't get enough of him." Sounds good, but the original sounds disturbing: "Why, she would hang on him / As if increase of appetitite had grown / By what it fed on . . ." Change the word "she" to "it" and you have the image of a parasite. That alone says a lot about Hamlet's view of women and sex.

I know of no better guide to reading, understanding, and appreciating Shakespeare than Spark Notes' No Fear Shakespeare series.

It would serve no useful purpose to write a review of Hamlet. It has already taken its rightful place among mankind's greatest works. The subject here is not Hamlet, but the manner in which it is presented:
Numbered, original text on the left hand page, modern, up-to-date language on the right hand page.

As with all of Spark Notes editors, an excellent way to present the play, for the first time junior high reader or for the 62-year old reader taking a Shakespeare course and reading Hamlet just for fun.

And as for Hamlet, the play? Like fine wine it gets better, much better, with age.

This is truly a No Fear way to understand Shakespeare. There is a modern day interpretation writing on one side of the book and the Shakespeare way on the other. It was a lifesaver!

Both as an academic teacher and as a researcher I have used Jenkins's edition regularly for nearly twenty years, and continue to marvel at the wealth of scholarly material - factual and interpretative - which it offers. I consider that no other edition of *Hamlet* is remotely as useful, though I frequently find myself in disagreement with this great editor.

Jenkins's text is eminently satisfying: sensibly and responsibly based, and scrupulously and intelligently modernised, even if one prefers (as I do) e.g. "solid" to "sullied".

His introduction is informative and well-considered, though I must admit I find his interpretative view of the play, both there and in several of his longer notes, at times less than penetrating. I feel he idealises Hamlet too much, misjudges the failure of Hamlet's play-within-the-play, and is less than openminded when it comes to making sense of e.g. the sexual elements in Ophelia's dreams (which are hard to interpret decisively, but certainly more significant than his cursory view suggests). On the other hand his information on ghosts, for example, is highly valuable and useful.

His shorter notes, explaining many difficult words and contemporary concepts, are always illuminating, frequently "spot on", and usually helpful even if one disagrees, in that he provides most of the information which one needs even if one ultimately arrives at a different judgement from his.

If banished or imprisoned and allowed only one edition of *Hamlet* I'd take this one. Not only because it is the best, but because it would help me in spending many weeks, months, or years on this riddling, frustrating, but endlessly fascinating play. Jenkins's edition is a monument to late twentieth century scholarship, and will undoubtedly continue to be recognised as such. - Joost Daalder, Professor of English, Flinders University, South Australia

An excellent version of the play, a balanced and comprehensive introduction, and extended notes about subjects of controversy or interest -- if you want to buy a copy of Hamlet this is the edition to get.

Most people have not read many versions of the play; nor have many people read most of the hundreds of books and articles on this play. For whatever strange reason, i have made it through much of the Hamlet criticism. And, i think i can fairly recommend this edition.

As you may or may not know, there are essentially three different versions of the play that have survived, the first (or bad) quarto, the second quarto, and the folio. Jenkins wisely relies primarily on the second quarto, but is not afraid to supplement or modify it with the folio and even the first quarto where it is appropriate.

But differences in the text of the play between this and other editions of the play is not the reason to buy this book. The reason is that there is so much more here than just the play. First, there is the 150+ page introduction, which is as balanced a review of thought on Hamlet as you are going to find. Next, the text of the play has the standard array of footnotes to explain various word meanings or relevancies. Third, at the end of the play there are longer notes that discuss in depth issues that the text raises which are beyond the scope of a normal footnote. These longer notes are great with an in depth discussion of hundreds of issues including whether a nunnery refers to a house of ill-repute and how old Hamlet is.

When Henry James sat down to write on his Venetian travels for what later became the Italian Hours, he began with a disclaimer: "It is a great pleasure to write the word; but I am not sure there is not a certain impudence in pretending to add anything to it." Turning to Shakespeare, we might amuse ourselves by writing on, say, Hamlet, but can anything be said that's not already been said, and better, a dozen times, by superior critics and closer readers? In the appropriate spirit of humility (and in utter submission to the Bard and his great gift to civilization), I offer a few thoughts on the Arden 2nd Edition of Hamlet, and not on "the greatest work in the history of literature."

Hamlet is by far the longest of the Ardens at 574 pages. It breaks down thusly: the prefatory material of editor Harold Jenkins - one of the Arden Series general editors and a Hamlet authority of great renown - alone takes up 164 pages. Three-quarters of this is bibliographical and historical. In his 40-page critical introduction, Jenkins addresses many of the plays thorniest problems, with the Talmudic attentiveness of the closest reader. Then comes the play itself, spread over 264 pages (in terms of sheer length relative to the Bard's other plays, the text is a monster, coming in at more than 3800 lines). Each page of the Arden includes an average half-page of Jenkins' detailed, argumentative, authoritative, and uncommonly helpful footnotes. The final 146 pages consist of longer (end)notes that Jenkins simply could not physically fit onto the bottom of a page. Many of these are short essays (including an appendix that glosses an earlier discussion on the dating of the play).

Each of the Arden Hamlet's three sections might merit separate publication (after a modest bit of repackaging), but as a totality, Jenkins' edition must be the greatest value on the Shakespeare market. Jenkins' ruminations on the provenance of the story and the many sources Shakespeare might have drawn on, the "Ur-Hamlet" that might have come from the quill of contemporary Thomas Kyd (The Spanish Tragedy), the complexities of determining an authoritative text, the drama's inconsistencies and unanswered questions, the import of the great soliloquy of III.i (which is emphatically NOT, insists Jenkins, a deliberation on whether to commit suicide), Elizabethan revenge dramas in general, and so much more make this a truly indispensable, illuminating, even breathtaking volume.

We think we know this play well. We have read it, and seen performed on stage and in memorable or hideously forgettable films. Many of its greatest lines are embedded in our hearts. The beginning of true understanding, however, resides in a superbly annotated scholarly edition. The Arden is one of several choices you can make and is for me the one to own, equally suitable for students, scholars, actors, and mere Bardolators. It will - provided, of course, you are not already a scholarly specialist in Elizabethan drama - knock the scales from your eyes. And until the 3rd edition now in preparation under Ann Thompson is published, this Hamlet will stand as the epitome of the Arden Shakespeare's greatness as a series.

Definitely the best Hamlet version to but. comprehensive notes both adjacent to the reading and longer notes in the back of the book. Informative yet dry introduction. BUY THIS VERSION!

We do not guild the lily by proclaiming this to be the most comprehensive edition of the greatest drama to come from any pen in history. The book is absolutely bristling with textual elucidations, notes and marginalia and a stunningly detailed, if somewhat dry, introduction. Moreover, no other edition I have used (and I have read Hamlet more than fifty times since the summer of my seventeenth year, including this edition over two enriching days during the past week) so clearly lays out the textual divergencies of the various versions of the canon, Q1, Q2 and F, as does Arden.

Than being said, it is the text itself which shines through in this (and any other) edition -- let us not mistake the husk for the grain.

Hamlet (as Harold Bloom argues so persuasively) more than any other play is surely Shakespeare's life work -- a work which he poured more of himself into over a longer period of time than any other. Written in its final version just months after the death of the playwright's only son, Hamnet, and his father, it represents Shakespeare's personal triumph over adversity and darkness.

Lear starts his tragedy with a lie. He has divided his kingdom into one larger and two smaller equal parts and promises to give the larger part to that of his daughters who vows the strongest love for him. Yet after Goneril speaks he immediately awards her one of the smaller parts, instead of listening to her sisters and then deciding the fate of the largest bounty. He thus negates his word and turns the auction into a formality for his pre-arranged plan of giving Cordelia the largest part and her sisters the two smaller parts. The whole scene is crass and the king is doubly crass (once for the auction, once more for the lie). He gives his word on the auction on line 52, breaks it on line 69 and forgets about his lie on line 193 where he rages at Kent for urging him to renege on his allegedly never broken word.

Lear starts his tragedy a crazy man. Cordelia's attempt at expressing that she "obeys, loves and most honors" the king only earns her being disowned half a page later. This precipitous fall from being the favorite daughter slated to receive the largest part of the kingdom to the one who "better ... hadst not been born" is incredible.

Most of all, this is a tragedy of detachment. Lear and Cornwall obviously do not have a relationship with their children and know nothing about their children's true feelings for them. Lear does not hear Cordelia and Gloucester does not try to hear Edgar out. Both have to face devastating atrocities before they see their children for who they are. "To willful men the injuries that they themselves procure must be their schoolmasters". They both suffer when they feel unloved by their offspring, they both die before they can enjoy their children's love. The suffering of the two old men is unrelenting, and in this sense "Lear" is as heartbreaking as "Macbeth" is macabre and "Othello" is insidious.

The balance of power, 4:4 (Cordelia, Fool, Kent and Edgar against Gonereil, Reagan, Edgar and Cornwall, with Lear and Glocester in the middle and Albany largely on the fence), is tilted towards the higher ranked evil four. In a game of chess, the former four would have been pawns, knights and bishops and the latter queens and rooks. In the end, Kent and Edgar, a knight and a pawn, save the day.

And yet, the end of the play offers no redemption. The two old men are dead. All those devoted to them are either dead or despondent. The Fool, his spirit giving out as he urged Lear to go back to the two evil daughters and ask their blessing, disappears from the play without a grace. Kent is preparing to follow Lear into the world of shadows. Cordelia is murdered and Edgar predicts an uninspiring future for himself and the young that remain. There is no consolation for dead or living.

This Shakespeare play was a more difficult story line to follow. There were a lot of seperate plots happening at once. i did enjoy it however because Shakespeare keeps it interesting with lots of humor and violence. Shakespeare's fundamental elements of hidden identities and deception run rampant in the twisting and turning story line.

The story follows the life of King Lear who makes a some what bizarre decision to split up his kingdom between his three daughters before he dies instead of after. He then banishes his youngest and favorite daughter for disagreeing with him and divides his land between his two evil daughters. Shakespeare tries to get the audience to have sympathy for Lear yet it is hard to do being that he brought all of the trouble he goes through upon himself. Overall it was a very intriguing story about regrets and decision making and i enjoyed reading the play.

Betrayals, romance, and death: the book King Lear has it all. This book is written by William Shakespeare, who is a famous author of his day and still is well-known throughout the world. William Shakespeare writes during the Renaissance period which he fully lived up to. He could be said to be philosopher by saying his thoughts of life, love, justice, and other morals of man through his works of literature. My opinion is he expressed his opinions of love and justice in the book, King Lear.
In this book, there is a king named, King Lear, who was old and ready to retire his wealth to his three daughters: Goneril, Regan, and Cordelia. Before King Lear gives everything to his daughters, he wants to see how much each daughter truly loves him. Goneril and Regan have been waiting for their inheritance from their father for a long time. They love him very much, but they do not care about their father. They just want his land and gold. On the contrary, when asked to express her love for her father, cordelia says she has no words to describe her love for her father because she truly means it. Surprisingly, King Lear gets furious with her, and she runs off to marry the King of France without her father's blessing. After King Lear discovers the plot of his eldest daughters, Goneril and Regan, he goes crazy and runs out to the fields to deal with his grievances. Ironically, it was during a storm which symbolizes the thoughts going through his head at the time.

Meanwhile, an elderly noble named Gloucester, also has family problems. His [...] son, Edmund, is jealous over the fact that Gloucester's legitimate son, Edgar, will inherited most of their father's wealth. This will mean that Edmund may get a small amount of gold and a few acres of land. Therefore, Edmund, consumed by greed, tricks Gloucester into believing Edgar is planning to kill him. So, Gloucester creates a manhunt for Edgar who disguises himself as a crazy beggar named, Poor Tom. While Poor Tom hides in the fields, he meets King Lear. The two men form an alliance to set things straight. Here is where the plot twists and turns from plots of murder, to wives who are cheating, and to rescue attempts.
After reading this, many thoughts run through my head. How should a child express their love for a parent? What is the normal reaction of a parent when a child expresses their love? I will probably never know the answer to the questions until I have experienced what it is to be a parent. Another question stems around if my friends or family ever abandons me for a simple action like robbing bank, should they forgive me or should they hold a grudge to the grave. The way Shakespeare puts his thoughts is a whole other story in itself. It could take years probably to really understand the concepts of man throughout this book. Can man truly be this evil and corrupt in the world with few who do good? I guess these are questions that lead us to the meaning of life.

This was one of my favorite Shakespeare tragedies because despite Lear bringing the misfortune on himself, the reader truly does feel for sorry for him. When Cordelia could not declare her love to Lear like her sisters did, he takes this as a lack of love for him. Of course it wasn't, but Lear's desperate neccesity for admiration from those around eventually becomes his downfall.

While all of that action is going on, Gloucester's illegitimate son, Edmund is on the rise to power, hoping to overtake his brother. King Lear is obviously a tragedy, but there is one aspect of it at the end that is truly rewarding to the reader. Though none of Shakespeare's plays are, read this one and you definetly won't be dissapointed.

I recently re-read KING LEAR prior to attending The Denver Theatre Company's performance of this play. Shakespeare (1564-1616) wrote this emotionally-moving tragedy between 1603 and 1606, and it was performed for the first time in 1606. With its insights into the nature of human suffering and kinship, and its theme of human blindness, it is regarded as one of Shakespeare's greatest tragedies.

KING LEAR is based on the legend of King Leir, a king of pre-Roman Britain. It tells the story of King Lear's decision to abdicate the throne and divide his kingdom among his three daughters, Goneril, Regan and Cordelia. In a moment of vanity, Lear decides to divide his lands according to how much each daughter demonstrates her love for him. Because Cordelia refuses to engage such a contest of flattery with her elder sisters, Lear divides his kingdom between Goneril and Regan, banishing Cordelia. Despite her disinheritance, the King of France marries her. Soonafter abdicating his throne, Lear discovers that Goneril and Regan's feelings for him have grown cold. Meanwhile, Goneril and Regan also have a falling out with one another while defending Cordelia's army from France, sent to restore Lear to his throne. Goneril poisons Regan, then stabs herself.

In a subplot, involving the Earl of Gloucester two sons, Edmund concocts false stories about his legitimate half-brother, Edgar, who is forced into exile. Edmund then aligns himself with Goneril and Regan, and his father is blinded by Regan's husband. Edgar, disguised as a lunatic, finds his blinded father out wandering in a storm, trying to find his the way to Dover.

In Dover, Lear, who has gone raving mad, is reunited with Gloucester, Edgar, and Cordelia before the battle between Britain and France. When the French lose, Edmund orders the execution of Lear and Cordelia. Edgar, still in disguise, reveals himself to Edmund before killing his evil half brother. Although Edmund stays the execution of Lear and Cordelia, unfortunately, the reprieve comes too late as Lear enters the scene carrying Cordelia's dead body in his arms. Then he dies.

As a tragedy, KING LEAR is appealing for its nihilistic conclusion that human existence is essentially meaningless, and that life is devoid of a true morality.

G. Merritt

Jacalyn Royce, in Shakespeare Bulletin, Volume 22, Number 4, said this about Mastering Shakespeare:

"Mastering Shakespeare places Kaiser in the company of John Barton, Cecily Berry, and Patsy Rodenburg: master teachers who have applied scholarship and practicality to develop methods through which contemporary actors can achieve lucid and physically honest performances of early modern characters-and written smart, inspiring, and useful books about the process.

A review of this book, written by Jean Schiffman, appeared in Back Stage West in May of 2004. Here in an excerpt:

"Scott Kaiser, Oregon Shakespeare Festival acting coach, has come out with an eminently readable new book: Mastering Shakespeare: An Acting Class in Seven Scenes (Allworth Press). Constructed like a play set in an acting studio, it's both entertaining and instructive. Kaiser presents a Stanislavsky-based rehearsal method that he dubs "orchestration." Devised over years of teaching, this approach to on-your-feet script analysis demystifies Shakespeare and makes the acting of his plays seem downright accessible....Kaiser illuminates the whole art of acting Shakespeare, from clown to king, in a way that's sure to appeal to many heretofore intimidated American actors."
-Back Stage West, feature article by Jean Schiffman, May 20, 2004

Scott Kaiser's text covering fundamental issues in acting Shakespeare draws on both drama and literary basics, revealing a method whereby contemporary young actors can hone their art of Shakespeare plays. From pronunciation and focal points to learning how to 'speak a score' to an audience, Mastering Shakespeare is packed with important insights.

This is a great book for actors because it intelligently draws connections between what you already know and what you need to know. The workshop-style format in which it's written veryh insightful into the thought and exploring processes of finding the meat of Shakespeare's characters. As an actor, I highly recommend it for anyone who is serious about the Bard.

This book is so useful! As an actor graduating with my MFA in May, I have already successfully used the tools outlined in this book for auditions, scene work and in performance. The information is fresh, clear and really accessible. I would recommend this book for actors of all levels, as well as for teachers looking for simple, practical advice to offer their students working on Shakespeare.

When I first picked up SHAKESPEARE CATS by the British artist Susan Herbert, I was struck by the cute and colorful illustrations showing cats, my favorite animals, as Shakespearean characters. I bought the book, and as I went through it page by page I found it educational, too. Herbert has accompanied each one of her drawings -- works of art in themselves -- with a short synopsis and the relevant quotation from the play. The trouble with cats, however, is that it is not always possible to do much more than suggest emotions in their faces, which are fairly "blank." This poses a problem with the more extreme emotions in Shakespeare: Herbert's Othello (a black cat) does not look enraged nor her Macbeth (a red-orange tabby) particularly horrified. Additionally, Herbert depicts mostly tabby (striped) cats, which will probably disappoint readers who like other kinds of cats. But if these are drawbacks, they are minor ones; Herbert is a gifted artist. Her scene-composition and her bright color-choices make each illustration a feast for the eyes. There are some subtly clever facial expressions, too, like Malvolio's (TWELFTH NIGHT) self-satisfied grin or Jacques (AS YOU LIKE IT) cynical smirk. And art enthusiasts will see Herbert's drawings of Romeo leaving Juliet's balcony or the sleeping princes from RICHARD III as homages to celebrated paintings by the nineteenth century artists Dicksee and Northcote; her crazed Ophelia (with tongue hanging out) might stand beside the famous depictions of that heroine by Waterhouse or Millais! I am happy to have discovered SHAKESPEARE CATS and Herbert and will seek out more of her books.

I hoped this was a story, but I will find a way to use the pretty pictures. The book isn't constructed in a way that I can encourage its use as a picture book for young children. I do like the fact that there is a passage beside each picture. That will be of some use.

I love this book, it's so adorable and beautiful, Susan Herbert is a great artist, I admire her a lot. You see wonderful pictures of cats playing roles of some of Shakespeare plays. It's a great book for kids and also for adult too.:) If you love cats your going to love this book.

Shakespeare people also tend to be cat people: why is that? In this case, Susan Herbert has created a beautiful book for cat fans and Bard fans alike. I have all of Herbert's books, and "Shakespeare Cats" is definitely my favorite. It depicts famous moments from many of Shakespeare's plays with intricate detail, and the cats look like they're in the most natural settings in the world! It's hard to pick out my favorite illustrations, but the "Midsummer Night's Dream" picture stands out, as does the humorous painting from "The Taming of the Shrew." All of the paintings are wonderful, and this is an adorable book that you will treasure forever.

Susan Herbert is, first and foremost, a truly gifted artist. Her style, talent, color choices, all show a mastery of skill. Aside from that, though, she's also an imaginative woman who tryle appreciates the feline, as evidenced by her series of wonderful illustrated cat books.

This book, "Shakespeare Cats", functions firstly as simply an enjoyable coffee-table book for frequent perusal. On another level, though, Herbert has cleverly illustrated 32 of Shakespeare's works, and with detail. The setting of each piece, the costumes, the detail of scene-setting -- all of this shows that in addition to being a cat-lover and an artist, Herbert is also not too shabby as a Shakespearean scholar as well.

I am very, very pleased with this book. I found all of the information on Shakespeare fascinating and the activities will be very good for the programs our art organization is offering.

It was great to revisit one of my favorite places in the world = Stratford-Upon-Avon = and to learn about London and the theatre in the 16th century. I loved this book and my teenage boys loved it, too. It is beautifully written and well researched and the activities are a lot of fun.

If you like Shakespeare and you like kids, you'll love this book. I found this to be an original and colorful introduction the life and times of the Bard of Avon, which can be enjoyed by children as well as adults.

Although this book is geared towards children, anyone can learn something new and interesting by reading this extremely informative and fun book. Not only can a younger reader learn to juggle like the queen's entertainers, but he or she can also learn how to write a sonnet or stage a sword fight. This book includes historical and political facts as well as what Shakespeare's life and the theater was like. Give this to any child and they will be quoting "A Midsummer Night's Dream", telling you about life in Stratford-upon-Avon and even staging their own productions!

I bought this book on the basis of the fine reviews. It is good, glossy, and an easy read. My disappointment is that I did not realize that this book is not geared to high school students. I had hoped to find activities that would spark my students, but --there is, for me, too big a stretch between text and activity. I can see the making a bird feeder and the references to birds in Shakespeare's works at an earlier level, but not for high school seniors. The book is, however, filled with historical references and good pictures.