William Wordsworth Books

William J. Slim was an interesting soldier. He served for forty years in the British and Indian armies, rose to be a field marshal, served as governor general of Australia, and wrote what is considered to be one of the best memoirs to come out of the war, certainly among the best written by a senior officer. All of this, and many who read about World War II have never heard of him.

Slim was born the son of an unsuccessful businessman from Birmingham. His father sold wholesale hardware, and went bankrupt when Slim was in his teens, prompting the young man to look for a job that would afford him a paycheck for little outlay. He joined an army officer training course at Birmingham University (somehow without being a student of that institution, and neat trick) and when World War I started, he was mustered into the army as a lieutenant, and sent off to war.

He served first in Gallipoli, then Mesapotamia (later known as Iraq) and when the war ended, joined the Indian army, serving mostly with Gurkha regiments. By the mid-thirties, he'd seen enough service that when the war started he soon bounced up to corps command, and was instrumental in the retreat of the British army from Burma. The first offensive back into the country (the Arakan offensive) almost got Slim sacked, but someone perceptively relieved his senior instead, and he got the man's job. He fought, and won, the battles of Kohima-Imphal, and later Meiktila, and reconquered Burma. Afterwards, he was again almost sacked, instead promoted Field Marshal, and made Chief of the Imperial General Staff over the objections of his predecessor, Montgomery. From there, with some diversions, he became the Governor General of Australia, which he did almost until his death.

Lewin is a competent writer, but no master of prose or anything, and he concentrates on Slim and his career. There's little information on Slim's family, such as when his parents died, and almost nothing on his silblings. The author does spend a little bit of time on Mrs. Slim, and the children, but not much. There are some amusing anecdotes (especially concerning his time as Governor General of Australia) and a few myths get put to rest. The most prevalent one is the story that Slim enlisted in the army as a private and was eventually promoted all the way to Field Marshal. This is shown to be just not true, unfortunately: he joined the army through an officer's training course, much like the American ROTC.

The middle part of the book covers the war in Burma, and does a good job of it. The principle issue in a book dealing with Burma is whether you come down on the side of Orde Wingate and the Chindits, or against them. Wingate was a strange, fanatical, brilliant, annoying soldier who formed the Chindits, a unit of light infantry that fought in the jungle behind Japanese lines, supplied by air. Slim, and many soldiers in the conventional army, thought Wingate heedless of difficulties, and unscrupulous, to say the least, while his defenders think he won the war in Burma, and despise those who tried to "hold Wingate back." Lewin comes down gently on the side of Slim, as you might expect, but carefully lets you know how deceitful and devious Wingate could be when he wanted something.

Altogether, while this isn't a masterful biography, it is a good book and a worthy tribute to a wonderful soldier.

This book concisely tells the story of an indomitable, brilliant in a practical way, yet wonderfully human warrior. It is a must read for anyone who wants to find out about the embodiment of leadership.

I am a great admirer of Field Marshal the Viscount Slim, who in my opinion was the finest general officer of the war anywhere in any army. He molded the magnificent British 14th Army and led it in a victorious campaign against an implacable, often fanatical enemy, performing the impossible against insurmountable odds.

It is interesting to speculate on how differently Slim would have handled matters had he been in command of the British-Canadian forces on D-Day instead of Montgomery. Slim, who was accustomed to having to get along on a shoestring, but who also moved boldly and decisively whenever opportunity presented itself, would almost certainly have taken Caen on D-Day given all the men, munitions and air power which Monty possessed. That achievement alone would have shortened the war.

On the other hand, I don't believe Monty would have fared well in Burma. He was far too cautious and always refused battle until he had amassed overwhelming superiority in manpower and munitions. I doubt he'd have ever gotten round to attacking the Japanese given the threadbare logistical situation in India and Burma.

Read in conjunction with William Slim's "Defeat into Victory", Lewin provides a superb appreciation of the forgotten WW2 battles in Burma and the life and times of Britain's outstanding Army commander of the 20th century. A splendid portrait of the soldier, general, proconsul and man. A must read for any serious student of 20th century warfare.

It includes some of his most famous work, interspersed with biography and commentary on its origins, read well and entertainingly, by several different English actors. Good for those who prefer poetry read to them, but will inspire them to do further reading themselves.

This is an excellent recording of Wordsworth's poetry. It made me realize that his poetry is really meant to be heard, rather than read. All the vocal actors are very good, and I particularly enjoyed the narration of Wordsworth's life by Jeremy Northam. A very enjoyable set of audiotapes.

Wordsworth's poetry, at times, seems to be the most beautiful in English. This collection provides an ample audio companion to the text. There is a nice balance of selections from the "great" poems (1797-1807) that account for Wordworth's esteem, as well as juvenile and late works. Both versions of the Prelude are represented (1805 and 1850), some of the Lucy poems, Tintern Abbey, The Leech-Gatherer, the Immortality Ode, excerpts from ballads, and numerous short pieces as well. The reading of Tintern Abbey alone is worth the price of these cassettes: the unidentified male reader captures the music, the cloistered beauty, and the extraordinary depth of this poem. Bravo! Although the readers are named, one would hope that a future edition would specify who reads what.

I've read Wordsworth my whole life, and my hunched posture, bland disposition, and general resentment of other people's successes are testament to what happens when one gives oneself- like a prom queen- to the WORDSWORTHer. Johnstone does admirable work here, giving us the dirt on the man and the truth about his years in Hollywood. Who knew that Wordsworth was a spy, or that he was the basis of the famous spy vrs spy strip? Johnson's fine research helped me appreciate that strip much more than i had.

Excellent book! I liked the textual innuendo here, that our most bucolic and turgid of romantic poets was indeed a spy, mostly in the house of love, macking on Dorothea, his sister later of Oz fame, as well as many French Aristocrats and poetesses. This book displays brilliant research and impressive critical girth. The tale of Johnson provides a rich and yeasty reading of Wordsworth's "Prelude" as a love poem to Coleridge, what Johnson calls the foreplay to romanticism itself. Read this book for the rich critical ideas and the saucy details about how, where, and how often the poet hides himself.

This book is a roller-coater of litereral passages that keep you on the edge of your chair. It's a real page turner.

"A good deal of [Wordsworth's poetry], perhaps most of it, is very dull, like a long walk on a grey day. But just as somewhere on that walk there might be a sudden and superb flash of beauty, so in Wordsworth's poetry there are short passages, perhaps only a line or so, that are miraculous. An apparently simple unadorned phrase will suddenly blaze in the reader's imagination. These moments of his, once experienced, are never forgotten, and we never entirely lose our response to them." - J. B. Priestley. Literature and Western Man (Collins, 1960).

The Prelude contains many of these unforgettable moments - certainly more than "short passages". Besides being a wonderful poem, the work gives the reader a unique insight into the life of the poet through his own words. The four versions give us a chance to appreciate how the poet grows and develops and how his views change over time. In many cases, changes to the 1805 manuscript appearing in the final 1850 publication do not seem to be improvements at all, but attempts to cover up previous indiscretions or to subdue outbursts of passion. The sentiment of the newer portions is often far from that of the earlier drafts. The two much shorter initial drafts, "Was It for This" and the Two-part Prelude of 1799, are very different to the later books and show a superb command of language. Not surprisingly, Wordsworth's relationship with nature is a major theme throughout the poem. The direct effect of growing up in the countryside is perhaps revealed more plainly than in his other poems and a quasi-religious philosophy is evident.

This Penguin version seems to me to offer as much as one could want for a non-academic reader. The 120-odd pages of notes are quite sufficient to understand the poem thoroughly.

This book will appeal to anyone who enjoys romantic poetry, nature or autobiography. A book to be savoured, not rushed. Highly recommended.

I ordered this book for my sister who was struggling with an online college English course. She could not understand Shakespeare and was really having a hard time. I found this book on Amazon and had it sent to her. She not only understands Shakespeare now, she actually enjoys it! The original writing is on one side of the page, and the plain English version is right beside it. Wonderful!! I have no doubt my sister will now make an A in her class as well as become a fan of Shakespeare!

I'm not ashamed to admit it. I find Shakespeare difficult. I need help. The Cambridge School Shakespeare editions, with the classroom activities and assignments on each facing page, give me the focus and direction I need to finally truly enjoy the text.

I thought I didn't like Shakespeare until I took a class on several of the plays. It turns out that I love Shakespeare when I'm doing close reading or studying it carefully but for whatever reason I find it extremely difficult to do on my own. The Cambridge School editions allow me to replicate the classroom experience on my own, providing enough background and questions for critical thought that I keep a close focus on the text. Previous times I've attempted to read 'Hamlet' I was struggling just to figure out what was going on; reading this edition I was analyzing the characters and considering different acting and directing choices. It's amazing.

As a college student who had to write a paper on Hamlet,Again,I of course had to get away from any classic ideas about the play. Being a student with a talent for writing I would never be able to "get away with," these common theories, as professor's expect much more. This book really helped me to create a rather ambitious and interesting thesis; one which went against the criticisms in the book, and was refreshingly new.

I like the individual criticisms in this book as they really force you to look harder for textual evidence. One of the BEST things about the book was that it included the whole play as well. That was so useful because I didn't have to juggle two books -one of them being the complete works of Shakespeare which weighs about 20lbs. I was able to take this book everywhere and work on it whenever I had spare time.

However, I would not sugesst this book for an individual who does not have a very strong background in Hamlet. You need to know the play Extremely well in order for this book to benefit you. If you do not know Hamlet inside and out, then this book will only cause confusion and you should probably stay away from it, as the theories may be difficult to comprehend.

Shakespeare Made Easy is a great tool for anyone interested in Shakespeare. It provides the inquisitive Shakespeare amateur with means of understanding passages they do not decipher in the original text. However, it is important to note, this is not the right book for a high school classroom. It allows students to "read one of Shakespeare's plays" without actually reading a word of what Shakespeare himself wrote. Half of what makes Shakespeare so captivating is his style and wordplay. Deprived of those two elements Shakespeare's plays are only stories with good plot. Ultimately, students who don't take the challenge of reading the original text before reading the translation will be less interested in Shakespeare after because they will not have experienced the witticism in his literature. In essence this version of Shakespeare provides a cheep way out for unmotivated students that ultimately rewards neither their teachers nor themselves.

With this generation's youth it is difficult to find many students interested in Shakespeare. Shakespeare Made Easy is the key. The general stories that William Shakespeare put down on paper are truly remarkable and quite fun to read. However, these days there is hardly any interest in deeply analyzing pages and pages of Shakespearian English, especially with his longest play, Hamlet.
With the original text on one page and a modern translation on the opposing page this version of Hamlet can be an insightful read as well as a pleasure read. By having the option of both translations the reader will be fully immersed in the story, rather than the text, and come out on the other end singing the praises of Shakespeare and Hamlet. This is a breakthrough version of Hamlet and should be the premier choice of teachers and students alike. Nothing, except perhaps the movie, will excite the adolescent world to Shakespeare more than this version of Hamlet.

If you are a teacher, I would look into buying another audio version of Romeo and Juliet. I have been using it as a tool to get the students to hear professional actors and to then ask them to use the same skills those professional actors use (inflection, emphasis, etc.) The problem is it is VERY difficult to hear...to the point that you have to sit 3 feet away to hear it at times. This simply does not work for a classroom.

The notes that John Andrews gives on all the Everyman Shakespeare editions that he edits are fabulous. I think his editions are the most user friendly for any actor, student, director and teacher. Some publishing house should get Mr. Andrews to do all the plays.

Poor Romeo.

Watching Romeo meander his way through the play is like tailgating a drunk driver. At any moment he could crash, and in the end he overcorrects his assumptions by swallowing the poison, and in some ways his death must be a relief to his troubled mind.

Romeo's status in the story changes with nearly every scene, whether by his own doing or by an external entity. However, his circumstance reflects in almost every case his willingness to succumb to his passions. From his love of Rosalind to his love for Juliet to his exile, he is a bundle of nerves. Taking a time out would slow the pace, and instead Shakespeare quickens it by transplanting Romeo's moment of joy with Juliet with a moment of action and consequence: the death of Mercutio.

Giving Romeo the chance to be happy might damage his character. A great tragedy yet today. What makes it great is that the basic storyline pulls everyone in, and once the story captures, we can start to appreciate the minor characters, like Capulet and the Nurse.

What a boring love story - I wasn't impressed. Bizarre plot, long tedious read.

Caution Scalawags: May Cause Pulmonary Failure!, July 29, 2004
Reviewer: Professor Emeritus Percy Q. Johnstone (Darkest India) - See all my
reviews
Yes dear reader, it is I, Professor Emeritus Johnstone. As you may have
divined, as Professor Emeritus of American Literature, I am well versed with
dramatic writings from our sister nation, England. Now, many of you are
unfamiliar with the work, as William Shakespeare is relatively unknown in
the bumpkin-ridden land you call "The Colonies". However, you
lucky few will discover a goldmine of quotes such as "Alack, Alack,
Alack" and other favorites. But I, Professor Emeritus Johnstone,
diverge. Yes yes. For those of you who wish to pursue the god-given purpose
of the most noble art of teaching American Literature, you must be familiar
with the works of Shakespeare. As you are stupid, and not a professor, like
I, Professor Emeritus Johnstone, you undoubtedly do not understand, but no
matter. The story of "Romeo and Juliet" is simple. it opens in a
court yard in Venice where the political rebels, Pyramus and Thisbe are
plotting to overthrow the evil fascist government (oh how I, Professor
Emeritus Johnstone know that feeling. I confess, dear reader, that once I,
Professor Emeritus Johnstone, lived in America until government stooges
exiled me to darkest India for poliical subterfuge. Suberfuge! Bah!). Alas,
Lord Capulet's men break into the meeting and arrest poor Pyramus and
Thisbe, casting them into the darkest dungeon. Ah, but fortune smiles on our
two heroes, for in the cell next to them are the "Star-burned
lovers" Romeo and Juliet, who were imprisoned for plotting to overthrow
the evil Capulet. Together, they escape the prison, kill all the
fascist-swine guards, and blow up the prison, bringing us, dear reader,
rather neatly to the end of Act I.
Act II opens in Lord Montague's (Lord Capulet's chief of security) hall,
where he has just made posters offering 5000 marks for the heads of the four
rebels. Enter the villain (mustache and all) Tybalt (cousin to Count Paris)
the bounty-hunter. Tybalt, in a scene that moved even I, Professor Emeritus
Johnstone, gives a heartrending "soliliquy" in which he mourns on
he pain of killing those whose politico agendas you support. Thus ends Act
II. In Act III, we find...ROMEO WORKING FOR LORD CAPULET! He has become a
traitorous lap-dog to the very system he despises (oh reader, how I,
Professor Emeritus Johnstone, know this feeling!). Pyramus and his rebel
army storm the palace, and in the final scene, Pyramus kills his traitorous
lover, Romeo, driving a dagger through his jugular...only to find out that
Romeo was a spy. Pyramus then jumps out the highest tower in penance to end
the play.
Genius. Every potential collegiate scamp should read this edition, for it
has a preface by one of the greatest scholars of our age...none other than
I, Professor Emeritus Johnstone.
Hark, I hear my Biddy calling me to gruel and morning prayers. As Hamlet
said, "Adieu Fair Readers!"

Bitterly,
--Professor Emeritus Percy Q. Johnstone

As mentioned on my review of the Norton Critical Edition of "Othello," I purchased the two versions together so I could put together an online version of the play for a project my professor has been working on for some time now. Personally, I like this version better than the Norton one because it keeps the British spellings, but for the purpose of the project the spellings are being made into the American spelling. Overall, it's a good edition and, as with the Norton edition, came at the suggestion of my professor.

I have my degree in English... I like reading and teaching with this version as "help" not as a substitution. It gives a clearer understanding to Shakespeare for people who have difficulty with it.

I have never intently read Shakespeare before, but enough people told me that I needed to read "Othello" that I decided to break down and buy a copy. Everything about Shakespeare I find intimidating, so with much trepidation did I buy this critical edition of "Othello". Needless to say, this work is AMAZING. Not only does Dr. Honigmann give notes along the way to help the reader interpret what the characters are saying, but he also provides an extensive introduction outlining Shakespeare's sources, some possible motives, and some character criticism. He also provides one of Shakespeare's main sources, a short story written by Giraldi Cinthio, and in this short story he provides notes that link it directly to the text of "Othello". I am completely sold on "The Arden Shakespeare" series, and will continue to use it in the future. A definite buy!

Forty-plus years ago, when I first started reading Shakespeare, I liked the Signet Classic editions.

They were cheap and handy, and the play texts were just about right for a beginner: clear, with an indication of variant and disputed readings without overwhelming the play; a simple, convenient way of glossing the hard words; and useful short explications of some of the allusions.

Recently, preparing to go see a production of "Othello," I picked up the Signet Classic version to re-read, and I did something I had not done in my student days: I read the supporting material.

The background to the original staging and Renaissance playcraft was unexceptionable, but when I got to the "new dramatic criticism," I was appalled.

Not all of it was new. Of three essays, two dated from 1956 and 1960 and no doubt were part of the first issue in 1963. These were tedious and obvious, just the sort of thing that took all the enjoyment out of studying Shakespeare in school.

The third, dated 1980, had been added to pander to current campus fads -- not something you need when reading a Jacobean text. The editors got a three-fer: an essay by Madelon Sprengnether that coughed up psychoanalysis, feminism and PoMo French-Belgian trendiness in a convenient but indigestible hairball.

It's hard to imagine that still in 1980, people were taking Freud seriously and disgusting to see Shakespeare subjected to Belgian Nazis. Of the feminism, all I can say is that sometimes a sword is just a sword.

I have read a fair amount of Shakespeare criticism and liked little of it. But until Sprengnether, none of it disgusted me.

The copy I picked up second-hand dated from 1986. No doubt in the two decades since, more "new criticism" has been added to keep up with the dumbing down of the campuses. To 21st century students, here's some advice. You will be better off doing what I used to do: Stick by the big fish and let his remoras tag along unheeded.

Though I am not a particular fan of Shakespearian work, I instantly fell in love wioth Othello. This play is one of the greatest things ever written. Never has a playwright combined love, extreme decpeption, jealousy, anger, and fear in a play like Shakespeare has in Othello.

Even if you are not a fan of Shakespeare, I highlky recommend this play.

If you do not wish to read the play then I would recommend going out and renting or buying the movie "O" with Josh Hartnet, Julia Stiles, and Mikih Phifer. I would rent/but the 2 disc version because the second disc includes the original silent version of "Othello" from the 1920s.

This is not the book I ordered--If it was a book for personal reading I would have no problem, but it was ordered for academic purposes.
It did arrive in a timely manner though.

The whole Cambridge series is very valuable. It offers helpful footnotes without cluttering the page, and actually indicates within the text when a footnote will appear. Text appears on right-hand side, and left-hand page offers thoughtful questions and activities to spur engagement, including comprehension and analysis, get-out-of-your-seats and act, and staging/directorial decision-making, and thematic extensions.

"The Taming of the Shrew," by William Shakespeare, is, essentially, about the taming of a shrew. However, in this case, the shrew is in fact a woman, not an animal. The best translation of shrew into modern English is a stubborn, mean woman. About half of the book is about courting, marriage and domesticating Katherine, the shrew. The other half is about Bianca, Katherine's sister, and her dozen suitors.

Being written by Shakespeare, "The Taming of the Shrew" is well regarded in academic eyes. This fame is not entirely deserved. The play is blessedly short, but lacks a solid plot. What plot the story contains is throughly confused by how indistinguishable the characters are. Two thirds of the cast's names end in `io,' making it almost impossible to tell them apart. The theme of male domination is adequately achieved throughout the book. In the end, man triumphs over woman, but has not succeeded entirely in domesticating her. This play is far less amusing than the rest of Shakespeare's works, for they contain a mostly understandable plot.

OK, I know I'm going to get hammered for this; once again, there goes my reviewer rating. But I just HAVE to be honest: this is a terrible story. OK, being that it's Shakespeare, it's prettily told, but it's still a HORRIBLE story, and I can't imagine why otherwise sensible people like it. Perhaps they feel that Shakespeare is telling it tongue-in-cheek (it IS a comedy, after all) and poking fun at the system of fathers marrying off their daughters without any concern for whether they want it or not; that would almost make it tolerable, if I could believe it. But given that it IS a Shakespearean comedy, we must assume that the ending is supposed to be a "happy" one, and the situation at the end is far from pleasant. Or perhaps people believe (I've heard this claimed in all seriousness) that Kate has actually "triumphed" at the end, having figured out how to manipulate Petruchio so as to get her way subtly and underhandedly. Even if this were true, I'd hardly consider it a "happy" ending, and personally, I see little evidence of it.

No, what we actually have here is a story of a strong woman (some people seem to like it simply because there IS a strong woman to be found in it) being married against her will to a scheming golddigger who "Tames" her by blatent if indirect spousal abuse (he doesn't beat her, simply starves her and sleep-deprives her, as well as forcing her to wear muddy rags until she behaves exactly as he wants, up to and including winning him a bet by lecturing her contemporaries on their duties as obedient wives.) Her spirit may or may not be broken, depending on how the part is played, but the fact remains that she's forced to BEHAVE as if it is, and that's not a message that should be bruited about in a "comedy". This is absolutely the WORST of Shakespeare's plays.

Unlike any other Shakespeare's plays, THE TAMING OF THE SHREW has an induction, which lives up to its name in the sense that the prologue scene does indeed lead into the play that follows. It seems likely that Shakespeare had adopted the device from medieval narrative poetry, where it was extensively used to introduce a story in the form of a dream. In the induction, far more is involved than the mere setting of a scene and the informing to audience. In fact, Christopher Sly seems to have lapse into a dream as he is forced to adopt a new identity. The brief yet vigorous altercation between Sly and the hostess with which the induction begins is a curtain raiser for the dramatic struggle between Petruchio and Katherina that is to follow. Equally as significant is the Lord's instructions to his servant-boy as to the behavior he is to assume when he appears disguised as Sly's wife forebode the main theme of the play.

THE TAMING OF THE SHREW has a powerful appeal for the Elizabethan audience at the time it opened because the struggle for mastery in a marriage remained a fact of existence and hot topics for writers. A true-to-life domestic scene opens the play and instantly grasps attention: Signor Baptista forbids all suitors to court his younger daughter Bianca until he finds a husband for the ill-tempered, difficult, and waspish elder daughter Katherina. She is notorious for her hot temper, foul tongue, and caprice. Out of jealousy and the qualm not remaining single, she often vents out her anger on her sister. Suitors of the younger sister, who decide to put aside their rivalry, contrive to find a match for Katherina.

Gremio and Hortensio bear the cost of Petruchio's courting Katherina while Lucentio, who is madly in love with Bianca, and his crafty servant Tranio cunningly switch role to infiltrate the Baptista house. What inevitably follows is a facetious pursuit of love and a farcical melodrama that culminate in a riotously funny final scene in which Lucentio's real father, who has no clue of his son's betrothal, confronts the pedant-disguised impostor who reverse-accuses him of a charlatan. Equally as clueless of the entire crafty scheme is Baptista whom the suitors have tricked and outmaneuvered. He is consistently mistaken about everything and everybody, so that he does not even understand why Bianca later asks for his forgiveness. He and Vincentio are merely the butts for all the intrigues that go on throughout the play.

THE TAMING OF THE SHREW maintains an irresistible appeal among the comedies owing to the intriguing trickery with which characters rival for courtship. Just as suspenseful and entertaining is Petruchio's calculated, punctilious campaign to tame his wife. His line of attack is psychological, although persuasive words carefully planned for each step accompany his actions. He somehow outsmarts his wife and deliberately outdoes her in his perversity and bad temper. The quintessential spleen of tantrum flourishes in the scenes in which Petruchio abuses his servants and tailor. His being abusive, tyrannical, violent, and capricious functions more than a reflection - it is evident of a caricature of Katherina through an exaggerated parody of her wild behavior. His evaluation of her mind is confirmed by her softening and surrender for she welcomes the opportunity of meeting an antagonist who will put up a good fight.

THE TAMING OF THE SHREW is highly rhetorical (even more so than AS YOU LIKE IT). Whether it is Petruchio's aggressive, vituperative taming or the milder courting of Bianca, the play never lacks an elite style with which Shakespeare exploited language to a linguistic virtuosity. For example, Petruchio's taming distinguishes from the usual method that might involve violence. What differentiate his campaign are the subtlety, the sophistication, and the ingenuity of his conceiving of Katherina's mind. His perspicacious mind justifies the use of highly rhetorical, puny, and literary discourse that somehow alienates the ordinary speech in the play and paradoxically brings in a fuller, more intimate possession of his witty scheme.

Of course Shakespeare's TEMPEST is an enchanting--and enchanted--play, but my comments here concern the DOVER THRIFT EDITION of the play. Dover is to be commended for making texts such as these affordable for readers on a budget. However, students and teachers alike should note that the Dover edition does not supply line numbers. Students who are considering this text for a class and may have to write about it will not be able to cite specific line numbers as is convention (Act.scene.lines; e.g., 3.1.34-47). Professors and teachers should also be aware of this limitation and weigh it against the affordability of this text.

I have my degree in English... I like reading and teaching with this version as "help" not as a substitution. It gives a clearer understanding to Shakespeare for people who have difficulty with it.

I bought this copy admittedly because the magical artwork on the cover drew me towards this edition. I admit that it is shallow but I am very glad I ended up picking this one because it contains a wealth of information that is so perfect for helping students understand the context, background, themes and ideas contained within this beautifully written play.

Shakespeare is always difficult for us young people, but I can easily promise anyone that this edition does a fine job of explaining the play and it definately helps the reader to gain a better understanding of the play so you are prepared to go into an exam and write about it for two hours with the conviction that you will yield good results.

The Tempest is rightly regarded as being one of the Bard's greatest works, containing some of his deepest thoughts on the nature of power and the relationship between rational man as controller of nature, and the animal man always to be at the mercy of the passions both of himself, others, and the world around him. In fact, this play could be thought of as representing Shakespeare's final and definitive statement on topics that he had explored throughout his cannon. But profound as the philosophy is, and despite the beauty of the poetry and the many magical elements contained within the play, the fact is that as far as the average attention lacking teenager is concerned, not a lot happens. This is why this Cambridge schools edition scores over most others. It is almost entirely activity focused, the expressed aim being to 'bring the play to life'. With at least one suggested activity beside each page of Shakespeare's text (as well as a decent amount of background notes and interpretation), every teacher armed with this book should be able to enthuse his charges with the very real relevance of this play to the world which we have bequeathed them.

I recently re-read THE TEMPEST prior to attending The Colorado Shakespeare Festival's performance of this play under the summer stars here in Boulder. Shakespeare (1564-1616) produced this emotionally-moving, poetic romance at the end of his career, in 1611, and published it in the First Folio in 1623. In fact, it was his last play.

It tells the story of Prospero, the exiled duke of Milan, and his beautiful daughter, Miranda, who have been stranded for twelve years on a desert island with two servants, the airy sprite Ariel (who Prospero rescued from being imprisonment in a tree) and the savage Caliban. Upon learning that his usurping brother Antonio is sailing near the island with the Neopolitan King Alonso's party, he uses his magic powers to conjure a sea storm that not only leaves the ship and its passengers wrecked on the island, but which also sparks a courtship between his daughter and the king's son, Ferdinand. The survivors of the wreck are separated into several groups, believing one another dead. Three subplots then alternate through the play. In one, Caliban befriends two drunken crew members, whom he believes to have come from the moon, and drunkenly attempts to raise is own rebellion against Prospero. In another, Prospero works to establish the romantic relationship between Ferdinand and Miranda. In the third subplot, Ariel thwarts a murder plot at Prospero's command.

The shipwrecked passengers are eventually reunited by island spirits to discover the marriage of Miranda and Ferdinand. In the end, as its title suggests, THE TEMPEST is as much about the opening scene's violent storm, as the journey that brought Prospero to the island and the psychological storm--"the sea change"--leading him to quit his magic and his remote island to return to Milan.

G. Merritt

As Harold Bloom says, this has become an unplayable play after the Holocaust. This is only an additional reason why one should read it. The play is fantastic and gives us one of Shakespeare's most memorable characters: Shylock. Whether you see him as villain or victim, Shylock is unforgettable. As is his speech defending the Jewish.

Anti-festive character who is Shylock on this play sacrificed unjustly. Shylock is a character who is legally invoking his rights as a money-lender among the community which experiencing transition from agriculture society to capitalistic society. Moroever, the character Portia's defending Bassanio as an disguised attorney is unreasonable in some ways and speech is crude, indeed.
In my opinion, to reach the axiomatically righteous conclusion, we should reverse pur point of view toward the 'Justice'. It is a transformation of way of our thinking. Therefore, I recommend rhis masterpiece for someone who aspire to ponder about our human being's viewpoint.

THE MERCHANT OF VENICE can be described as a tragedy only if one follows the modern definition of "tragedy" and not the Greek. The genre of tragedy in which Shakespeare wrote required that all of the players, or at least all of the main players, die at the end, à la ROMEO AND JULIET, JULIUS CAESAR, MACBETH, and HAMLET. In fact, MERCHANT OF VENICE can only be described as a tragedy if Shylock is seen as the main character and not Antonio. (Note, in the list of players at the beginning of the play, only Antonio is called a "merchant of Venice".) In sum, THE MERCHANT OF VENICE can only be described as a tragedy if it is completely removed from its historical context.

Shakespeare intended that the actions taken by Antonio, by Shylock, by Bassanio, and even by Portia be seen as comically extreme. Antonio goes to the lengths of seeking help from a man he despises to help a man he loves. Shylock demands nothing but justice, even when the demands of the agreement he made is met and even doubled. Everywhere in this play is there action taken to the extreme.

Only a refusal to acknowledge the historical context would be blind to the comedy. There are stage plays, television shows, and screenplays aplenty which follow the example set forth in MERCHANT OF VENICE, showing how comical people can be when their actions are taken to the extreme. If MERCHANT OF VENICE can be view in THIS context, then the comedy shines through.

As a writer, I find it comical that anyone would use MERCHANT OF VENICE to point the finger of "racism" at Shakespeare. Part of a writer's challenge is to present convincingly views even he or she disagrees with. The best writer would try to dismantle and disprove the very beliefs he or she holds dear. That Shakespeare has often been judged a racist based on his portrayal of Shylock serves only as testimony to the continuing success of this play. Shylock's speech, complimented by another reviewer, is ample proof that Shakespeare's own views are well hid. Shylock's speech demonstrates magnificently that Shakespeare was able to get inside the head of any man (or woman) in his stories and write the words which that man would speak, faithfully render the thoughts which that man would think, have that man act as only that man would act, and all of it be believable. Simply put, unless you knew beforehand a writer's views on any subject, it would be difficult to find the needle of truth in his or her haystack of fiction if that writer has done their job well, and in this case Shakespeare was damned near flawless!

It is true that the movie, starring Al Pacino, does not present this play as a comedy, but that hardly detracts from its excellence. It shows, in fact, that MERCHANT OF VENICE plays well as both a drama and a comedy. In our age, however, given the importance of religious tolerance, I'll admit that it is probably best played as a drama.

As for the Pelican series of Shakespeare's plays, they are an excellent resource for anyone wanting to read and study the Bard's work. I've several volumes in this series and hope to eventually own them all. Each volume contains two identical essays, "The Theatrical World" (which provides a good understanding of the historical context, as well as an idea of just how much we know about Shakespeare as an individual) and "The Texts of Shakespeare" (which gives more historical context and also discusses some of the difficulties which editors have experienced in presenting these plays in print to modern audiences). There is then an introduction to each play, which is best left unread until afterwards if you aren't familiar with the play. The footnotes are few, but well-chosen, and do help in understanding words and phrases whose meanings have changed over the centuries.

Shylock is the only sympathetic character in the play. Modernity has altered the villain in "The Merchant of Venice" from Shylock to the entire cast of characters EXCEPT for Shylock. Any sense of comedy in the play died for those with a sense of religious tolerance, and Shylock comes off as merely oppressed. I found Act 5 almost nauseating after the forced conversion. That, coupled with the happy racism makes a perversion of decency and happy endings. This play is a tragedy. The recent movie version done starring Al Pacino turned it into a tragedy, and amazingly, a play written as a comedy seems to work very well as a tragedy.

Antonio gladly spits upon Shylock and calls him a dog, but stunningly, when Antonio finds himself in a financial pinch he goes to Shylock for money. More brash is Antonio's promise to act the same in the future: "I am as like to call thee so again, / To spet on thee again, to spurn thee, too." (1.3.127-28) From this point on, sympathy for Antonio is paralyzed in a modern reader's mind, from reminders of past images, from slavery and anti-Semitism, where the dehumanizing of a group of people is accepted by a society. The entire text afterward reads like an indictment of humanity, as if Shakespeare is making the Elizabethans laugh at their own behavior.

In perhaps the best argument in Shylock's defense in the trial, he point out the fact that those who speak of mercy own slaves. "What judgment shall I dread, doing no wrong? / You have among you many a purchased slave." (4.1.89-90) Shylock, as fanatical as he is over the pound of flesh, is asking for only a pound of a man, when the slaveholders own the entire person. The play is littered with prejudiced remarks that clearly show how animalistic Shylock was to them.

Every conversation involving Shylock has ridicule from the Christians, without remorse or a feeling of comedy. The Christian children are taught to mock Shylock, they run after him in the street. The merchants spit on him, the Duke reviles him, his daughter renounces her religion and robs him.

Still an amazing story, with a few of the best on mercy and prejudice ever written.

The New Folger Library of Shakespeare's Tragedies and Comedies are among the best pocket editions available for the student and the journeyman lover of the Bard.

Before the actual text of the play which is wisely presented on the right hand page with explanatory notes (metaphors, allusions, similes, etc.) facing on the left hand page (words and phrases are defined by scholars based on their usage during Shakespeare's time; if scholars are inconclusive as to meaning, the word `uncertain' is used to connote this disagreement), the usual `Reading Shakespeare's Language', `Shakespeare's Life', `Shakespeare's Theatre', `Publication of Shakespeare's Plays' and `Introduction to the Text' introduce the reader to the Shakespearean world. Following the text, an essay by Alexander Leggatt follows illuminating `The Merchant of Venice' for the modern reader. In addition, an eleven page `Further Reading' list pinpoints books and essays on topics like the play itself, Shakespeare, the time in which he lived and the Globe Theatre. Rounding out the vital information is a three page "Key to Famous Lines and Phrases" complete with speaker and verse notation.

As far as the play itself, I will keep my remarks limited, saying only that for the modern audience, Shakespeare's "The Merchant of Venice" borders on the provocative. All with politically correct upbringing or today's cultural sensitivity training cannot help but focus on the reigning prejudice of the early Medieval and Renaissance time period, namely the exclusion of Jews from all forms of normal life since mainstream thought withheld that this race was primarily responsible for Christ's crucifixion.

Indeed, today's reader will pose the question as to whether or not this play should be deemed more tragedy than comedy and must remember that as a comedy, "The Merchant of Venice" focuses on marriage, couples (Bassanio/Portia, Lorenzo/Jessica, Gratiano/Nerissa) and their emotional and financial interrelationships and uses sly humor and innuendo to poke fun at Venice's societal `outsiders'(Shylock, Morocco, Aragorn and in a lesser sense Antonio) who do not form a Shakespearean couple per se. Looked at from this perspective, the character of Shylock becomes simply the play's foremost societal outcast, in spite of the famous speech where he asks seemingly so poignantly, "If you prick us, do we not bleed?"

Bottom line: Shakespeare is Shakespeare. If your modern sensibilities are offended by Shakespeare's treatment of Shylock the Jew, the Prince of Morocco and the Prince of Aragorn and question the unhappy and solitary Antonio's intense feelings for Bassanio, simply keep in mind that the world at that time looked at such things differently. Within the definition of comedy, this play with its multitude of lovely speeches and images works well indeed. The New Folger Library edition simply makes the play more easily accessible and understood on the various levels of language and scholarship. I recommend this series wholeheartedly.

Diana F. Von Behren
"reneofc"