William Shakespeare Books

Today even well trained actors balk at having to do Shakespeare. This book provides the tools necessary to bridge the daunting task of getting your mouth around the words and understanding what you are saying. Thanks to the authors for creating a book that captures their extensive knowledge and expertise in a user friendly volume.

Beyond the pronunciation dictionary, essential to every North American actor and director of Shakespeare, the book's notes on scanning Shakespeare's verse set forth briefly in ten clear pages, not extended pedantic garble, what an actor must know, since scansion may dictate pronunciation. The additional notes on dialects, accents, Latin and other foreign languages used by Shakespeare, and the observations on differences in poetic diction in each of his plays, also have great value.

This is as essential a tool for any actor performing Shakespeare as the voice, body and mind! I highly recommend it to anyone who is serious about their craft.

GREAT FIND!! Any and every word Shakespeare ever wrote is in this book with the proper pronounciation. This is a "must have" for any Shakespeare actor, or for someone who wants to read Shakespeare and know exactly how to say every word. Also, the verse speaking techniques are excellent. If you are serious about Shakespeare, get this book!

This incredibly thorough and efficient book is essential to any person who wishes to study or truly appreciate Shakespeare. I've been an actor and a student of English literature for many years, but I did not have the access to or admiration for classical works that I have gained since using Younts' and Scheeders' text.
The poetry is better this way! You need to know how to say it if you want to perform it! Actors, Directors, and Lovers of Shakespeare, GET THIS BOOK!!!

I have seen productions of this play several times and each time it's hilarious! Now reading it I realize what geniuses the Reduced Shakespeare Company are - especially the writers Jess Borgenson, Daniel Singer and Adam Long! The book is worth it's price just for the footnotes. Their clever, witty, and yes - bawdy (Shakespeare would have been proud!) humor is priceless!

I am a high school drama teacher, and we bought copies of the Compleat Works of William Shakespeare Abridged for classroom use. They have been delightful to use, and perfectly correllating with the Reduced Shakespeare Company DVD that we have enjoyed in the past. The best part of all is how the kids retain the recognition of lines and scenes, even when we are viewing or reading other versions of his works. They love getting in front of the class and working up these zany parodies of the classics. I rate it 5 out of 5!!

Absolutely Hilarious! I would love to go see this play, however the book has annotations that are priceless, so you won't want to miss this either. You won't be able to put this down.

I bought this to decide whether or not to audition for a part in a local theater group performing the play. I didn't audition because I was on the opposite side of the atlantic ocean at the time, but five stars without question. The Reduced Shakespeare Company does a hilarious job of telling every single shakespeare play faster than ever before. Read this play!

Awesome. As fun as a show can be. Audiences will love it. Readers will laugh aloud heartily.

In his wonderful and fascinating book Unspeakable ShaXXXspeares, Richard Burt, the leading scholar of Shakespeare and film studies, pioneers research into the manifold ways Shakespeare enters into American popular culture. Concentrating mostly on film but attending as well to television sit-coms, Burt offers penetrating insight into everything from mainstream adaptations of Shakespeare to "low" spin-offs in which Shakespeare's language almost entirely disappears. Burt explores both what film and mass media have done to Shakespeare and also what Shakespeare enables our culture to do trhough film and other electronic media. Readers intersted in this book will be happy to know that Burt has since edited a related collection entitled Shakespeare After Mass Media and has co-edited Shakespeare, the Movie II.

One doesn't usually expect to find oneself laughing when reading a book of criticism written by an academic, much less a book on Shakespeare. But Burt's book is frequently just that, funny to the point of making me laugh out loud. Burt has a refreshingly off-beat sense of humor, and the materials he has discovered--such as an adult movie version of Hamlet--aer themselves often hilarious as well, though not always intentionally so. But far from being just a laugh riot, the book is also a serious, critically sophisticated analysis of Shakespeare's fate incontemporary mass media, where much of hte lnagugae is cut or confined to well-known quotations. Burt's final chapter on films about teaching Shakespeare is quite moving, and Burt has the courage to raise difficult questions without pretending he is able to answer them. He is right to think that the questions are more important than the answers. Burt is to be congratulated for writing his book in a clear and engaging prose style without sacrificing the complexity of his thought.

One of the many strengths of Burt's truly excellent book is that it not only discusses Shakespeare adaptations but uses Shakespeare, or of ShaXXXspeares, to discuss post-war American popular culture. Burt's theory of the loser as critic has ramifications for all criticism, not just Shakespeare. This is a profound, original, and engaging book.

I happened to be doing research for my thesis on Shakespeare in the university library and, while looking for other books, I was intrigued by the three XXXs in the title of Burt's book on the shelf, so I pulled it off and looked through it. What a daring work of cultural criticism! When I saw the chapters on Shakespeare porn, I marvelled both at the courage of the man to write such a book and how at the publisher who took it on. Of course, I check it out and read it. I especially was drawn to the chapter on action films and Burt's point that while the films cannibalize others, no one in the films ever eats; the characters are anorexic. The book is full of similarly wonderful insights. I am a cinephile, and very much appreciated Burt's quite hip approach to ShaXXXspeare. Now, it's back to those other, rather staid books of Shakespeare criticism, I was orginally looking for.

Whatever you think about Shakespeare, it is impossible not to agree with the points Burt makes in this book. His analysis is right on the money and you will never be able to look at Shakespearean movies or literature in the same way. A fantastic book and a must read.

This is just an absolute steal at $60. There are negatives: the set doesn't include the narrative poems (e.g. The Rape of Lucrece and Venus and Adonis), and it doesn't include The Two Noble Kinsmen, which most scholars agree was written partly by Shakespeare and partly by John Fletcher, and is of particular interest because if Shakespeare wrote parts of it, it is his very last surviving written work. Also, the hardbacks are not of the highest quality -- they're not bad by any means, but these are not deluxe volumes.

But these things are completely outweighed by the sheer amount of Shakespeare you're getting for the money here. 37 plays and 154 sonnets (and of course, these are some of the absolute best plays and poems of any era, in any language), all for less than $2 apiece. That's spectacular. Technically, you can get Shakespeare's works cheaper, if you want to get one of the huge 1,000+ page tomes of densely packed text like the Riverside or Oxford Shakespeare. And, those are probably better scholarly texts, as well, so serious students and scholars should probably use them. But this is by far the cheapest way to get all of the plays in their own separate hardbacks, which was the deal breaker for me. I bought these plays because I want to READ them, and no set out there is as reader-friendly as this one. If, like me, you simply want a set of Shakespeare's works that is easy and fun to read (and looks sweet on the bookshelf!), then you have to get this. You won't regret it.

I've just received my set today and am incredibly thrilled it was shipped to Europe so quickly(10 days earlier than announced)! To get that much Shakespeare in such a beautiful set for just 58.90 is simply unbelievable. I strongly recommend everyone to buy this while it's still available at this price, you won't regret it!
However, there is one reason I didn't give this outstanding set 5 stars which really annoys me: I realised that in the set I had ordered, "As you like it" is missing, instead, "King John" is included twice. Since I can't buy the one I'm missing individually, I'll have to get another edition that doesn't match the rest of the set... I can only hope that other customers will have more luck than me :)

Do not pass up this great offer! The books are sturdy, beautifully designed, & the texts are perfection!

I recieved my set little more than a week ago, have already read several of the volumes, and I have to say that this is one great deal. The price comes to little more than $1.50 per a book, less than a fourth of what you'd pay for just a paperback of any one of these plays. The volumes, while plain in appearnce, are well-crafted, and will clearly last for years, no matter how many times they're read. And I have to say, what a pleasure it is to be free once and for all from the large single volume Shakespeares that I'm used to--you know, those five pound tomes with the micro-sized print that can only be comfortably read while sitting at a table. In short, if you're considering buying the collected works of the greatest writer of all time, a writer who rewards repeated readings with ever-new and amazing insights each time you take him up, then this is the collection to get. Buying anything less would be a waste of money.

This is a great value for Shakespeare. The books are nice - not collectors editions or fine works of art - but are perfect for actually reading and enjoying. For the price they're perfect.

this book was recommended by the instructor for a course on Shakespeare I took, to help those of us who were new to the literature and language of Shakespeare. It was an amazing resource and made it much easier to read and write about the plays. It's clearly written, explains the story well and any historically significant information that might be of importance to the play's history. This is an excellent suppliment for anyone reading Shakespeare.

This really does sum it up best:

"Shakespeare's genius is marked by his rare ability to appeal to theatergoers of all types and all levels of education. But for most modern folks, the Greek and Roman mythology and history, let alone the history of England and the geography of sixteenth-century Europe that his works are laden with, are hardly within our grasp. Isaac Asimov comes to making obscure issues clear to the layperson, selects key passages from 38 of the great bard's plays plus two of his narrative poems and, with the help of beautifully rendered maps an figures, illuminates us about their historical and mythological background."

Asimov is a genius, Shakespeare is a genius, it takes one to know one.

October 21, 2007

If you want to understand Shakespeare or just appreciate him more,this is a "must have" book.

Highly recommended for Shakespeare fans.

Gunner October, 2007 Comment | Permalink

This is the book if you want to start exploring Shakespeare. And don't get me wrong: it is not shallow -- on the contrary! -- but it is a very uncomplicated reading. Totally worth it.

As usual with Asimov works, this guide is absolutely superb!! I fully recommend it to readers attacking Shakesperare for the first time

This was the text for my college Shakespeare classes over 20 years ago (different edition of course) I still have it and still use it. A wonderful book for students and those who want not only the complete works but some well written and authoritative information about Shakespeare and the world in which he lived and wrote.

The texts of the plays are well foot-noted and the type is easy on the eyes. Well worth the investment.

If you can't afford the Oxford Edition of Shakespeare's complete works than this is the next best edition you can find.

While reading reviews of this edition elsewhere on the Web, I came across this review by David Allen White, professor of English @ the U.S. Naval Academy and editor (with Charles Boyce) of Shakespeare A to Z:

"Re-writing Shakespeare is nothing new. The Nahum Tate version of King Lear--with the happy ending--held the stage for nearly a century and a half. The great actors of the romantic age, Kean and Booth and Macready, not only spotlighted the heroes in the tragedies but felt free to beef up their roles. Directors began more than 50 years ago to monkey with the historical settings of the play, often with imaginative and instructive results. Scholars, critics, and directors have ridden various hobbyhorses through the plays for years, introducing us to Freudian Hamlets and Marxist King Lears and feminist Tamings of the Shrew.

"Recent Shakespeare production and scholarship, however, add a perverse twist to this long tradition. We no longer care what the Bard actually wrote. Years of deconstructionist theorizing have taught us that words are needy and we, readers or actors or scholars, have the right, indeed the obligation, to give them the gift of meaning--our meaning, the more bizarre the better.

"For the 23 years that I've taught Shakespeare at the United States Naval Academy, I have always used the same text, The Complete Works of Shakespeare, edited by David Bevington of the University of Chicago. Professor Bevington is an old-school scholar with a distinguished career. The book he edited had many advantages: large print, full character names before each speech, specific indications of settings, modernized spellings, solid introductions that connected the plays to the students' experience of love and politics, morality and order, passion and faith, and comprehensive but not overwhelming notes. Every few years a new edition would appear, and I would open it with interest and a little apprehension. But the changes would be minor--thinner paper (approaching the substance of tissue, a malady afflicting many recent books), hints here and there of encroaching academic perversity in the notes--nothing sufficient to make me seek another text. The 4th edition's introduction to The Tempest caused me to swallow hard: We learn there that Prospero's authority "is problematic to us because he seems so patriarchal, colonialist, even sexist and racist in his arrogating to himself the right and responsibility to control others in the name of Western and Christian values." But this is an imperfect world, and I soldiered on.

"Notified that a 5th Edition would appear this fall, I took time to examine it closely. Many of the introductions remain the same; but new editors and commentators have significantly altered others. Despite the myth of progress that reigns in all the disciplines of modern academia, "new" is often far from "improved." Apparently, Professor Bevington has either ignored the changes or allowed the young scholar-colts to have a romp. In some of the new introductory essays, especially under the guise of new brief histories of stage performance, questionable judgment, to put it mildly, has crept in. For example, the introduction to Othello ends with the following observation:

'In another recent development, Emilia has stood out in several productions as the raissoneur and heroic figure in the play, speaking as she does on behalf of maltreated women, urging Desdemona to stand up for her rights. One recent Chicago production went so far as to rewrite the ending: Othello and Iago both survive unpunished for what they have done, while Desdemona and Emilia lie dead as their innocent victims. This deliberate and provocative overstatement might seem extreme to some viewers, but unquestionably did signal the direction of recent performance history of the profoundly disturbing play.'

"It may be time to stop buying tickets to that great play.

"The current obsession in academia is "queer theory," and the homoerotic is everywhere, not just in Shakespeare studies. But this particular perversity fills the introductions to the new Bevington, especially the introductions to the comedies. Compare the following passages, the first from the introduction to As You Like It in the 4th Edition, essentially a carry-over from earlier editions:

'Rosalind's disguise name, Ganymede, taken from Jove's amorous cupbearer, has homoerotic connotations that are easily misinterpreted today. Shakespeare delicately acknowledges the suggestion, to be sure, both in Phoebe's pursuit of a young lady (but really a boy actor) in male attire, and in Orlando's courtship of "Ganymede" as though addressed to Rosalind. Yet this innocent titillation, found also in Shakespeare's source, is not meant to hint at homosexual attraction as we understand it. On the contrary, the point is that Orlando can speak frankly and personally to "Ganymede" as to a perfect friend, one to whom he can relate in platonically spiritual terms without the distracting note of sexual interest.'

"These are eminently sane and sensible remarks. Now from the Introduction to As You Like It in the 5th Edition:

'Rosalind's disguise name, Ganymede, has connotations that suggest ways in which human sexuality can be partly understood as socially constructed. If Rosalind in disguise as Ganymede wins the affection and eventually the love of Orlando, while her father and the others are equally taken in by the disguise, are maleness and femaleness chiefly matters of sartorial convention and superficial appearance? When Phoebe falls in love with Ganymede, is not her infatuation a way of showing that the roles of the sexes can be put on and off? Theatrically, the device of having a young male actor play Rosalind who then disguises him/herself as a young man adds to the witty confusion of sexual identities by introducing homoerotic possibilities. Not only can the roles of the sexes be put on and off, sexual desire itself is unstable...'

"This is ideology masquerading as interpretation.

"To be sure, the range of possible interpretations of Shakespeare's work is wide, for he encompasses all of humanity and tells profound and mysterious truths about human life. Such inexhaustible expansiveness invites discussion and dispute and differences. At the end of the Introduction to Richard II in this volume, for example, there is a brief but superb account of various interpretations of that rich role by leading actors. Professor Charles Forker of Indiana University provides that account; another old-school scholar, he knows more about that play than any other living soul. Too many of the revised introductions, however, are more interested in advancing the latest academic-political orthodoxy than in discovering and illuminating the natural and conventional moral order so abundantly on display in Shakespeare's works. Nothing is more orthodox--still--among contemporary literary critics than the alleged truth that there is no truth, that all interpretations are valid except the author's own.

"Thus Puck in A Midsummer Night's Dream can be presented as "the denizen of a drug culture, with the love potion as the weed he gleefully distributes. The experience of the forest becomes a drug-induced 'high,' for audiences as for the actors. The fairies, sometimes played by adult and hairy males, can exhibit a streak of cruelty." And, indeed, in a recent production at the Shakespeare Theater in Washington, D.C., the fairies were hairy males who carried something like miners' lights. So much for lightness and charm and magic. This same Dream introduction gives the game away in words that are echoed in many of the other essays: "These modern interpretations are arguably neither more nor less 'true' to Shakespeare's text than earlier or more 'traditional' versions. What they do demonstrate is the play's remarkable permeability and openness to differing views."

"The new Bevington retails for $90; in good conscience, I cannot ask students to fork over such a sum of cash for a book that is now rife with nonsense. So next fall I'll assign The Riverside Shakespeare, which fortunately is still in its 2nd edition. I fervently hope it is not soon updated.

"Of course, the Bevington volume has come to reflect the universities it serves, where young students pay small fortunes to be taught that there is no enduring meaning or beauty to be found in the poetry of Shakespeare, no tradition worth preserving, no "truth" other than personal whim and innovative foolery. If the price of the new Bevington is petty theft, the tuitions charged by these institutions have become, at least for the study of the humanities, highway robbery.

"I know a father who gave his son the equivalent of a year's tuition and told the lad to go to Europe, to travel, to observe, to learn for as long as the money would hold out. The young man came back after two-and-a-half years, mature and educated, and instantly found a good job. The time has come for imaginative, alternative learning. I talked recently with a very intelligent young woman who loves literature; she is completing her sophomore year at Yale, where she had hoped to pursue an English Literature major. She informed me with sorrow that she was abandoning that plan. Her reason was quite simple: she had already sat through too many classes where lunacy prevailed. She mentioned the possibility of looking at traditional Catholic convents. Could this be the first refreshing drop of a wave of the future? It would not be the first time that civilization was preserved in the convents and the monasteries. Nymph, in thy orisons, be all of Academia's sins remembered."

(Allen, David White, "An Unweeded Garden," The Claremont Institute, http://claremont.org/publications/crb/id.959/article_detail.asp [originally published March 22, 2004])

I guess it's safe to say that, based on his review, Professor Allen'd give this edition 1 star...right?

I purchased this book as a birthday present for a graduating high school student who is a big fan of Shakespeare.
This volume has a lot to offer to both students and casual readers. In addition to very readable text of all the plays and sonnets, the fifth edition provides historical and literary context, including drawings and photos, as well as insightful essays on each of the plays. The essays include background, plot summaries and discussion of major themes and would be very useful to anyone seeing a play, especially for the first time. The helpful glossary is extensive, so the reader doesn't have to look up unfamiliar words or feel intimidated by the language. Professor Bevington's fifth edition of the Complete Works is a gem, authoritative and attractive. The birthday girl thinks so, too-- she gives it an A+.

This is truly a great book. Not only does it contain all of Shakespeare's works but it also has an enormous amount of information. There's a little bit on his life and a bit more about the theater during his time. There are also some great drawings in the beginning of the book.

The fact that I've been searching for this book for several years is testimonial to its timeless charm. I read this book 25 years ago and have wanted to own it for quite sometime. Now that I finally found it on Amazon, I'm delighted that I can share it with my high school children who have heard so much about the book from me over the years. The book kept me in fits of laughter and I've never viewed Shakespeare's plays the same way again. Besides being funny, the stories actually convey the real plot though presenting them in an irreverent light. There are also a lot of unnecessary footnotes included. A must read for ages 13 and above.

I read Twisted Tales many years ago and loved it. Richard Armour has made the Shakespeare plays a hilarious read. When my daughter was in the second grade, she mentioned something about Shakespeare and I said I had a very funny book about his plays which I would give to her when she was older. She insisted on reading the book then anyway, loved it and goes back to it frequently. She is now 16 and recently asked for the book again!
I actually came to the Amazon website to look for more books by Richard Armour. We definitely recommend this book to anyone who loves puns, jokes and great humor, all at the expense of the great Shakespeare plays. You can even follow all the plot twists and characters in Midsummer Nights Dream.

I read Armour's books over and over again when I was younger, they are *so* hysterical and brilliant, and I was so happy to read that there are others who remember and love his books, I felt as if I was among long-lost friends...the books must be published again!

Even my favorite bookstore can't find me this one. I hadn't thought of this book in years; my 14-year-old son had an assignment to rewrite the balcony scene from Romeo and Juliet, and it reminded me of this book. I must find it for him. I have always loved Shakespeare and deplore what passes for literature these days, so my recommendation for this book may seem odd, but this book is a must-read for all Shakespeare lovers. Let down your hair and enjoy it!

If you've ever enjoyed reading and/or seeing Shakespeare, or if you feel you've suffered terribly studying his plays in school, this book is for you. Going through several plays scene by scene (sometimes line by line), Armour finds humor even in the Bard's most serious moments. He also writes short introductory pieces to each play and a wonderful introduction. This book, along with Armour's "The Classics Reclassified," should be back in print to be enjoyed by the new generation and the ones that preceded it.

It's about as miserable as possible, both as literary criticism and as history. Worst reading of the sonnets ever, and that is quite a remarkable achievement. A cringe-inducing embarrassment.

Who am I to go against readers as obviously astute as the seventeen who have rated this book before me and unanimously given it five stars just because it is an insane book by a crank without the slightest idea of poetry, art in general, the creative process, the times of Shakespeare or Shakespeare himself? So: another five-star rating for this gem of the lunatic conspiracy theory genre.

--Bob Grumman

Whittemore's claim begins with a particular interpretation of the first two lines of the first sonnet: "From fairest creatures we desire increase, That thereby beauty's Rose might never die." According to Whittemore, "Rose" (capitalized and italicized in the original, and appearing capitalized 11 more times in the 154 sonnets) means "Tudor Rose Dynasty" of which Queen Elizabeth was the last monarch.

If Whittemore is correct, then the Earl of Southampton (to whom the first 126 sonnets are apparently written) was the actual last Tudor who never became King. The sonnets are thus a tribute to Southampton and his royal claim and the first two lines are a plea to the young Earl to beget an heir so that the Tudor Rose dynasty can continue.

Whittemore's reading of the sonnets allows him to present a unified view of the mysterious verses. In my opinion, his analysis holds together quite well, providing the sonnets with internal consistency and transparently relating them to historical events. In some cases, the sonnets actually explain historical events that were previously mysterious (Southampton was convicted of high treason after the failed Essex Rebellion of 1601 but his life was spared while his co-conspirators, including the Earl of Essex, were executed).

Whittemore's interpretation is much more compelling than the usual "we don't know what the sonnets mean." In fact, he brings the sonnets to life, hugely increasing their power and interest and pathos.

Of course, Whittemore's interpretation rules out the commoner "William Shakespeare" as the author. Whittemore assumes from the outset what Mark Twain and many others have suspected: "Shakespeare" is a pseudonym. William Shakespeare of Stratford who never wrote a letter, didn't own any books, didn't teach his children to read, and who could barely write his own name, did not write the plays and poems which were so obviously written from the perspective of nobility. (If you are 100% certain that "Shakespeare" was NOT a pseudonym, then Whittemore's book obviously isn't for you.)

The book itself contains each of the sonnets side by side with Whittemore's interpretation. The author also provides some background information and many pages of detailed line by line cross references between the sonnets, Shakespeare's work, de Vere's writing, possible sources etc.

For me, personally, understanding the meaning of Sonnet 140: "Be wise as thou art cruel, do not press/ My tongue-tied patience with too much disdain/ Lest sorrow lend me words and words express/ The manner of my pity-wanting pain" was worth the price of the book. It's obviously a threat, but against who and why and under what circumstances? Whittemore seems to have figured it out.

Read "The Truth Will Out" by Brenda James.

Then read the first line of Ben Jonson's two page dedicatory poem to Shakespear in the First Folio, which goes

"To draw no envy (Shakespeare) on thy name"

Which can be written

"To draw no NV (Shakespeare) on thy name"

NV is NeVille - how Henry Neville sometimes signed himself.

Neville was in the Tower with Southampton, for the same offence and also sentenced to death, and Brenda James thinks HE is Shakespeare! To be or not to be ... was written when he was in the tower under sentence of death!

I think the three were brothers, Oxford (1548) 15 years older than Neville (1563) who was 10 years older than Southampton (1573). None of them would have discovered their true identity until they were in their late teens or early twenties. Elizabeth was 15, 30 and 40 when they were born.

Neville had even more experience of Italy and France than Oxford - and they had a great deal in common - Neville was also very interested in Italy, astronomy - I believe he actually met Tito Brahe in Vienna - and in plays. For 6 months of the year he lived in the middle of London, close to Oxford, and near Blackfriars, where the protoplays were performed. Neville and Oxford had relatives in common - Neville was closely related to Cecil. For some reason he has been completely forgotten about - even though he was thought by a number of his contempories to be the most bookish of his generation at Oxford. I think James I went for writing lessons with him in 1604. The King James Bible is almost certainly his work - written after Oxford died.

Oxford worked closely with several writers, and a great number of the plays concern him - and the proto plays of the 1570s and early 80s were probably by him - and although the text of the plays has not survived, some of the names and plots have, and they are very similar to Shakespeare's plays.

I think that most of the finished, polished, works of "Shakespeare" are by Neville, who would have worked closely with Oxford from 1586, or so, onwards. The history plays were an important political project, that would have been supported by Elizabeth and Cecil - from 1586 on Elizabeth paid Oxford £1000 a year - about $1m in todays money. The original plots of a number of the plays, and maybe the writing - before they were rewritten and polished by Neville - may have been by Oxford, and his assistants.

A number of people in the 16th century thought Elizabeth had children. One or two were executed - it was against the law to say she had children! The others that we know about wrote about the rumours in their diplomatic dispatches - I think there are records in Madrid, Paris and maybe one or two other European capitals. But not in England! Where state censorship was very effective. Elizabeth, who was highly sexed and had no access to effective contraceptives, probably had 5 or 6 children.

Henry VIII had several illegitimate children who were placed in noble families - and some of them were a similar age to Elizabeth, in her Court, and did work for her, during her reign. If her father could place his illegitimate children in noble families, why couldn't she? Do not forget that noble families NEEDED heirs - and Oxford, Neville and Southampton were only sons, with curly orange hair! How many people do you know with curly orange hair? I know that the gene for red hair is recessive.

Who knows - Elizabeth herself may have joined in the writing of the plays - she may have helped come up with some of the extraordinary plots - I believe that she was pretty literate herself, and really enjoyed the plays!

So there you go - the works of "Shakespeare" were a family affair! And Neville was a seriously interesting chap himself - one of the founders of two party democracy, a principal player in the London Virgina Company - which was one of the first large capitalist enterprises - it had more than 600 shareholders - and became the USA. Neville tried and failed to persuade James to change his finances from feudal to Parliamentary - we needed the Civil War to sort that out. The "New River" bringing clean water into London from Hertfordshire in 1613 was his idea I believe - and it is still there today, nearly 400 years old.

I will have to buy the book!

While I always loved the language of Shakespeare's Sonnets, I had more or less given up on them. They were obviously deeply autobiogrqaphical, but to what and to whom did they they refer? Were they heterosexual love poems or, as commentators reluctantly came to assume, homosexual tracts directed to the Earl of Southampton who had been the dedicatee of the two long poems Venus and Adonis and The Rape of Lucrece? But how did the latter jibe with the failure of anyone to come up with a connection between the man from Stratford and the Earl? And what sense did it make when the first thirty or so sonnets where addressed to a young man urging him to marry and reproduce himself? And what about the "rival poet" and the "dark lady" who appear in the later sonnets? Many commentators have given up in despair and the orthodoxy became that the autobiography was irrelevant to the poems which had to be read things in themselves without outside reference. So I gave up. Until, that is, I looked into Hank Whittemore's "The Monument."

Whittemore works from the assumption that "Shake-speare" was a pseudonym for Edward de Vere, the Earl of Oxford. The reasonihg behind this has moved from "crank" status to a new kind of orthodoxy, and indeed is all that makes sense of the disrepancy between the life of the man from Stratford and the poems and plays. We can't look at all the evidence and argument here, but we can look at how this assumption helps to explain the content of the sonnets. Whittemore sees them as a chronological series directed by Oxford to Southampton, who was his son by Elizabeth I, secretly put out for fosterage with the Southampton family. This is the famous "Prince Tudor" hypothesis, and before readers throw up their hands they should look carefully at the evidence. I would have dismissed it as improbable except for the fact it does indeed make great sense of the sonnets. The first set about the failure of the young man to marry for example: directed by the Stratford man to Southampton they make little sense and are positively impertinent, but seen as directed by a father to the son he could not acknowledge, but whom he passionately wanted to perpetuate the Tudor dynasty and so ensure his own position as potential King (Henry IX) they fall into place. Add to this that the proposed bride was Oxford's daughter Anne (whom he did not believe was his biological child) and the matter becomes alarmingly obvious. The one hundred central sonnets that follow this series Whittemore shows to be a day by day chronicle of the days spent in prison (the Tower)by Southampton under sentence of death from Elizabeth for his part in Essex's rebellion - one of the jurors in the trial being Oxford himself.
The "dark lady" series refers to Elizabeth herself, and the "rival poet" is of course the adopted persona "Shakespeare" behind which Oxford was forced to hide.

Whittemore takes each sonnet and goes through it line by line showing the code or special language that Oxford used and which explains so much of the persistent imagery of the poems. He examines and cross-references the usages to all the "Shakespeare" works, and includes a detailed chronological history of the historical events that parallel the action of the sonnets, ending with the death of Elizabeth and the dramatic pardoning of Southampton by James I when he ascended to the throne of England. At this point Oxford, as part of the deal with Robert Cecil and James had to completely abandon any ambitions for his son ("I must not evermore acknowledge thee...") and leave the Sonnets as the only "Monument" to the truth.

This is a huge book and a huge enterprise. A shorter version evidently exists that leaves out the details and references, but the reader who is willing to be patient will, as I did, get thoroughly enthralled with the details of the evidence. As poem after poem emerges making complete sense in the context of its writing vis-avis the tormented life of the young Earl of Southampton and the agony of the father who could not acknowledge him but loved him with a moving and desperate devotion, and a picture of great drama and passion emerges. Given the unorthodox theory that he is supporting, Whittemore needs to go to these extraordinary lengths to be convincing. He will be challenged of course, and rightly so. Sometimes he might be overanalyzing and putting too much faith in the sonsistency of the "code." "Beauty" might always refer to Elizabeth, but sometimes, as Freud said, a cigar is just a cigar. Even so, any critic is going to have to show in the same massive detail why he is wrong. This is not a work that can be dismissed as the Baconian codes and cyphers were (rightly) dismissed. When, as in sonnets 30 to 35 for example, the exact reference to the trial of Southampton and Oxford's agonizing part in it become obvious, I have a vast sense of relief, of insight. At last it makes sense. The reader does not need to look at every last note to each poem. Once you get the idea it is enought to read the poem, read the Wittemore' "translation" and get the historical (day by day) context. The notes are there for further referrence and for the scholars. This is an immense work of scholarship, of a very rare kind, one that serves the reader as a source of revelation, and the scholar as a mine of information and dispute. You may not buy it all - and you will have to work at understanding the basic premiss and clear the mind of the cant associated with standard "Shakespeare" biographies, but for all those who like me have been frustrated by a failure to make sense of the most profound autobiographical sequence in any literature, this is a powerful breath of fresh air. If the poems were "Shake-speare's" Monument, then this magnificent book is Hank Whittemore's own Monument and will itself father many distinguished offspring as its possibilities are realized.

I can't imagine a better guide to Shakespeare than this. It's like a "for dummies" book, but better. The author covers just about everything, but she never bores you. In fact, I could hardly put this book down.

After a very lively introduction (about Shakespeare's life and the Globe theater), the author lists the plays in the order in which they were written. She divides them into four groups: the romantic comedies, the historical plays, the tragedies, and the romances. Then she tackles each of the four groups, writing about some of the plays. She tells you why the play is famous, she covers key characters (like Falstaff), and she explains the controversies that surround some of them. (For example, the charge of anti-Semitism about Merchant of Venice.) She makes a point of not covering every play --- if she covered them all, the reader would eventually lose interest.

Instead of getting bored, you are starved for more. The book is packed with trivia and intelligent observations. The author isn't shy about the sex and violence in the plays, either, which keeps things interesting. I highly recommend this book to anyone who wants an overview of Shakespeare's work. If you don't know about his plays, you probably want to, but you need a guide that was written specifically for you. This is the book.

I mean it. It really is.

Norrie Epstein, who also brings you _The Friendly Dickens_, has produced an absolutely unbelievable wealth of information involving Shakespeare's life, work, and times, all in an extremely readable, interesting, and -funny- way. If you ever thought Shakespeare was unapproachable, you thought wrong. _The Friendly Shakespeare_ takes everything your high school English teacher said about Shakespeare's elegant and classy prose and throws it out the window, showing Shakespeare's work for what it really was: sex and violence - extremely graphic sex and violence, filled with the ultimate bawdy talk and most injuring insults ever to be seen in English. It takes the sentimentality out of Shakespeare, making it as unclean as it always was, explaining out-of-date references and slang that would otherwise mean nothing to the modern ear but made a great deal of sense for the Elizabethans.

Epstein explores almost every possible aspect of the Shakespearean world: examining each play and its virtues and downfalls, delving into the twisted world of Elizabethan culture, discovering Shakespeare's life (and the mystery as to whether Shakespeare was who we think he was, or a pseudonym for any number of other writers, or if Shakespeare stole credit), interviewing actors and directors, the zany adaptations and unusual performances by unlikely actors, and reviewing the many film versions available on video. Nearly every page has a marginal tidbit with a quote or statistic or other little-known fact about Shakespeare's world or productions of his plays. Just from flipping randomly through the book, you could learn more about Shakespeare than you thought you ever wanted to know.

Being a student, I can say that _The Friendly Shakespeare_ is the finest reference for students - whether or not they have an interest in Shakespeare. Everything is presented in a fresh, exciting manner, and for those "experienced" students who have a passion for Shakespeare, it isn't "dumbed down." This isn't _The Idiot's Guide to Shakespeare_. It provides both the basics to get those non-enthusiasts going, and some extremely thought-proviking information for the veterans. Never once is Epstein's text dry or boring or overly wordy, like people expect most Shakespeare studies to be. Nor is it childish or pathetically simple.

What I love most about this book is how it really breaks through the stereotypes and barriers that most teachers have set up, making students HATE Shakespeare - they oversanitize it, making it pretty and beautiful, they oversentimentalize it, making it weak. Shakespeare's plays would not have lasted so long if they were just attractive poems about love. Certainly not. _The Friendly Shakespeare_ takes us back to the true Shakespeare, the Shakespeare that the original audiences must have seen - the gritty, dirty, audience-pleasing text, from the sexuality of _Othello_ to the extraneous gore of _Titus Andronicus_, to the often hushed-up fact that the sonnets were written to another man and not a woman.

Yet Epstein never makes it just about the sex and the violence - she does not deny Shakespeare was a genius of words, as he truly was. She just makes us more -aware- of his genius, for no true genius was ever all fluff and flowers. She tells us -why- he was brilliant, not merely saying he was because popular opinion states it. And after reading this book, you'll understand why, too. And you'll think Epstein is a genius as well for bringing us such a fantastic reference.

I recommend _The Friendly Shakespeare_ to everyone - students, adults, actors, directors, teachers, the veterans, the novices - it will inspire, it will enamour, it will delight, it will shock, and most importantly . . . it will make you love Mr William Shakespeare the way he -should- be loved.

+++++

This book's preface instructs, "Don't feel compelled to read this book from cover to cover" since it's meant for reading at a relaxed pace. Guess what? I DID read it from cover to cover!!

Why did I do this? Here are my reasons:

(1) THE AUTHOR'S WRITING STYLE. The author, Norrie Epstein, writes in a relaxed and leisurely but enthusiastic way making a somewhat difficult subject easy and enjoyable to read. She writes for the intelligent, common reader who's tired of technical, academic (and patronizing!!) jargon.

(2) THE BOOK'S ORGANIZATION. The book progresses logically with general comments on the works of William Shakespeare (1564-1616) to discussing the man himself to looking at the Elizabethan stage and then lastly discussing the plays. There is also a discussion of the Shakespearean sonnets. Finally, there is a fascinating end-discussion on the spin-offs that have resulted from Shakespeare's works (for example, music and films).

(3) DISCUSSION OF PLAYS. Not only are the popular ones discussed but the more obscure plays are also given attention. The plays discussed are as follows: eight romantic comedies, eight histories, one "problem" play, seven tragedies, and one tragicomic romance. All discussions are EASY to follow. And don't worry. There are NO boring plot summaries of the plays to read.

For many of the plays, there is a "What to Look For In" section. These informative sections highlight what is particularly significant in a play. As well, a major Shakespearean character of a particular play may be highlighted and given more detailed attention. For example, there are good, solid discussions of Shylock and Falstaff.

(4) ILLUSTRATIONS AND PHOTOGRAPHS. These are peppered throughout the book. I especially liked the black-and-white photo of Patrick Stewart ("Captain Jean-Luc Picard of the starship Enterprise") dressed up as Shylock.

(5) SIDEBARS. These also occur throughout the book. They highlight interesting bits of information that the author wants to bring to the reader's attention. One of my favorite sidebars is an open letter a critic of the 1600s wrote to Shakespeare entitled "As I Don't Like It." He commented on why he didn't like the play "As You Like It" (one of the Bard's best plays).

(6) INTERVIEWS. These are scattered throughout the book. The author interviews people (such as actors) who have a passion for Shakespeare. Notable interviews are with Kenneth Branagh and Ted Lange (of "Love Boat" fame).

(7) TRIVIA. And lots of it!! This Shakespearean trivia occurs throughout the book. For example, what does Shakespeare's epitaph say? Or, what Shakespearean character was Orson Welles' life ambition to play?

Finally, the big question: who is this book written for? Answer: for both novices and Shakespearean scholars--in short, everybody who is interested in the Bard.

I must confess that I thought I knew a lot about Shakespeare and his works. Was I wrong!! This book opened my eyes to how much I did not know.

In conclusion, after you read this book, you'll probably be like me and say, "What a piece of work was this man William Shakespeare!"

+++++

I bought this book based on the reviews at Amazon, and am very pleased with my purchase. I have "The Complete Works" of William Shakespeare, but it wasn't really complete until I bought this book.

Although this is billed as a book about Shakespeare and his work for people who don't like it (of which I am definately not numbered), I learned a lot about the plays and the periods in which they've been performed since to make this book worthwhile. For example, I hadn't known that the sonnet sequence for the most part is from an older man to a fair young boy. This isn't the idea of some fringe group either, but accepted by most Shakespearean scholars. Knowing this fact can certainly add a different level of meaning to many of the sonnets ("Shall I compare thee to a summer's day?").

Aside from the increased knowledge I gained of the texts, this book really helped me place the work against the time period that it was written for, and how people have viewed it since. Ms. Epstein's best analogy for aiding modern readers in grasping how Shakespeare was viewed in his day is comparing him with a writer for TV (strangely enough, a Twilight Zone episode did this as well). People who went to the Globe in 1600 went to see a "All in the Family Royal" or a "Three, Well That's Company" starring their favorite actor, Richard Burbage. The writer? Do you know who the writer of your favorite TV show is? Will "Cheers" be the "Much Ado About Nothing" of the 24th century? Or, even worse, will "Married . . . with Children"? (By the way, if you have any interest in Shakespeare, I strongly recommend Kenneth Branaugh's new version of "Much Ado." While Keanu Reeves is stilted, and Michael Keaton possesses Dogberry with the spirit of Beetlejuice, for the most part the film is a joy, especially any time that Branaugh or Emma Thompson is on the screen.)

Rather than summarize the plays (which only details the plots, which quite often weren't of Shakespeare's invention), Epstein attempts to comment on the play, quoting critical and personal reactions. She also presents some small interviews with some of the most famous Shakespearean's living, about parts and plays most commonly associated with them. I was disappointed because the book was incomplete. Although I agree with her dismissal of "Julius Caesar," she only goes into detail on "The Tempest" alone among the romantic plays, and misses quite a few of my favorite comedies as well. The books is quite a brick as it is, but this is due more to the large print and often wasted space between sections rather than the amount of words contained.

I read The Friendly Shakespeare from cover to cover, but it is well suited to be picked up and read from anywhere within its pages, most sections being only two pages long. For the bardolator and bard-avoider alike, Epstein's book is a lot like her subject--entertaining and fun, with enough serious matter for later contemplation.

Once you get past the strange layout (described in other sections), this is a great edition of Henry V. It is easy and fun to read and offers valuable insights (not just for students either). Well worth a flutter.

This play is best known for the St. Crispian's Day "Band of Brothers" speech given by King Henry just before the battle at Agincourt. It is a powerful speech that rallies people at all times and everywhere. Sir Lawrence Olivier made a film version in 1944 during WWII and Kenneth Branagh made another as recently as 1989. You can count on there being more versions. Epecially so when computers can help them make spectacular battle scenes (that aren't really in the play) with less expense.

Audiences love this play and they should. There is a lot to like and enjoy. I think upon repeated readings Henry becomes a more equivocal character than he seems at first. And readers of the King Henry IV plays will know him before he became King Henry and know something deeper about his personality.

And of course there is the whole bit about the drive to France being sponsored by the Church to avoid confiscation of property by the Crown. Moreover, there is the slaughtering of the French prisoners, and his treatment of Falstaff (who dies offstage in this play). This isn't revisionist stuff, it is right there in the play, but it is easy to miss the first time you are trying to take in the play.

In any case, this Arden edition is the one to buy and read from. Why? Because it has the most authoritative text, but that is only the beginning. It also shows variants between the early sources. The notes at the bottom of each page of the play are simply fabulous. The editor includes not only helpful notes explaining what might be obscure in the text of the play, he provides sources Shakespeare probably used such as Holinshed and makes for some very interesting study. There are also some helpful notes on how various scenes have been performed over time.

And to make this sound more like an infomercial, you get more! The introduction provides great background material on the play, its sources, and how it has been performed throughout history. After the play, there is a photo reproduction of the first Quarto from 1600 and it is fairly readable. There are also a couple of maps showing the path of the English Army from Harfleur through other towns on its way to Calais and makes clear how they had to pass through Agincourt.

There is also a helpful genealogical table so you can see the confusing claims used by Henry and the French nobility to make their claims. And there is a doubling chart so you can see how theater companies can perform all the roles with fewer actors.

This is a great edition as are all the plays published by the Arden Shakespeare. The amount of work collected in these volumes is stunning and they will enrich your experience of the plays tremendously. I can't recommend them enough.

This play more than any others in the histories glorifies Englishmen and England. His characters in this one are larger than life, but each has their own limitations and flaws. The play covers the time of the Battle of Agincourt when the French King Charles was so sure of victory that he sent a messenger to Henry to ask him to give up and to pay a ransom before the battle. On the eve of the Battle of Agincourt, the English were outnumbered five to one, Henry's troops were on foreign soil and riddled with disease. The scenes where Henry dons a disguise and goes out amongst his troops to bolster their confidence are great. The English managed to triumph in this battle where all was stacked against them mostly because of Henry's leadership. This is such a sweeping story that it is hard to condense in a few words, the plot of the play, but it is a wonderful example of Shakespeare's skills as a writer.

'We few, we happy few, we band of brothers.' What more need I say? Henry V is an imortal classic of western literature. And this edition is complete and accurate. See the film if you want, but be sure to read the words at least once. They are inspiring.

"Now, if these men do not die well, it will be a black matter for the King that led them to it."

Particularly poignant poetry in these times of pompous presidential sabre rattling and wars based on questionable facts.