Three centuries of drama

Contains: - King Henry VI. Part 2 - King Henry VI. Part 3

Contains 36 plays: All’s Well That Ends Well Antony and Cleopatra As You Like It Comedy of Errors Coriolanus Cymbeline [Hamlet]( Julius Caesar King John King Henry IV. Part 1 King Henry IV. Part 2 King Henry V King Henry VI. Part 1 King Henry VI. Part 2 King Henry VI. Part 3 King Henry VIII King Lear King Richard II King Richard III Love’s Labour’s Lost Macbeth Measure for Measure Merchant of Venice Merry Wives of Windsor Midsummer Night’s Dream [Much Ado About Nothing]( Othello [Romeo and Juliet]( Taming of the Shrew [Tempest]( Timon of Athens Titus Andronicus Troilus and Cressida Twelfth Night Two Gentlemen of Verona Winter’s Tale POEMS (3) Poems on Several Occasions Rape of Lucrede Venus and Adonis

Salzburg studies in English literature.

Adaptation of [Tempest](

An adaptation of Shakespeare's King Henry V.

This edition is of the best-known play by one of Shakespeare's chief predecessors and early contemporaries, Christopher Marlowe. The Jew of Malta was enormously influential on Shakespeare when he came to write The Merchant of Venice, and for good reason, since the play explores anti-Semitism and revenge. An introduction discusses the significance of this formative and brilliant play, with detailed commentary provided for meanings of difficult words, lines and references. Distilled from the insight and learning found in the fuller Revels edition but updated and streamlined, this is the most contemporary commentary now available.

"I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel and A. R. Braunmuller who understand that these are plays for performance as well as great texts for contemplation." (Patrick Stewart)The distinguished Pelican Shakespeare series, which has sold more than four million copies, is now completely revised and repackaged.Each volume features: Authoritative, reliable texts High quality introductions and notes New, more readable trade trim size An essay on the theatrical world of Shakespeare and essays on Shakespeare's life and the selection of texts

"One day, brave and adventurous Adelaide leaves her kangaroo family behind and flies off to see the world. She visits lots of exciting places but eventually she decides to stay in Paris where she finds fame, fortune and a handsome kangaroo called Leon"--

v. 1. Prolegomena: Advertisement to the present edition, by Boswell. A biographical memoir of Edmond Malone, by Boswell. Pope's preface. Theobald's preface. Sir Thomas Hanmer's preface. Dr. Warburton's preface. Dr. Johnson's preface. Steeven's advertisement, 1766. Capell's introduction. Steeven's advertisement, 1773. Reed's advertisement, 1785. Malone's preface, 1790. Steeven's advertisement, 1793. Reed's advertisement, 1803. Steeven's advertisement, 1803. Preface to Richardson's proposals. Richardson's proposals and supplement. Dr. Farmer on the learning of Shakespeare. Appendix to Colman's translation of Terence. Ancient translations from classical authors. List of detached criticisms on Shakspeare, &c. Shakespeare, Ford and Jonson. Rowe's life of Shakspeare. Additional anecdotes. Commendatory poems on Shakspeare. Essay on phraseology and meter. -- v. 2. Malone's life of Shakspeare, comprehending an essay on the chronological order of his plays. Appendix. Shakspeare's coat of arms. Conveyance from Walker to Shakspeare. Shakspeare's mortgage. Declaration of trust, by Heminge, &c. Shakspeare's will. Extracts from Stratford register. Entries on the stationers' books. List of the early editions of Shakspeare. Dedication of the players, 1623. Preface of the players. Modern editions. Plays ascribed to Shakspeare. Plays altered from Shakspeare. Character of Aubrey, the antiquary. -- v. 3. Malone's history of the stage. Additions from Henslowe's register. Additions by Steevens. Appendix from Malone's papers. Further account of the stage, from Chalmers. Addenda from the same. Markland's dissertation on the Chester mysteries. (cont.) v. 4. Two gentlemen of Verona ; Comedy of errors ; Love's labour's lost -- v. 5. Merchant of Venice ; Midsummer-night's dream ; Taming of the shrew -- v. 6. [Romeo and Juliet]( As you like it -- v. 7. [Much Ado About Nothing]( [Hamlet]( -- v. 8. Merry wives of Windsor ; Troilus and Cressida -- v. 9. Measure for measure ; Othello -- v. 10. King Lear ; All's well that ends well -- v. 11. Twelfth-night ; Macbeth -- v. 12. Julius Caesar ; Antony and Cleopatra -- v. 13. Cymbeline ; Timon of Athens -- v. 14. Coriolanus ; Winter's tale -- v. 15. [Tempest]( ; King John. Essay on The tempest -- v. 16. King Richard II ; King Henry IV, part 1 -- v. 17. King Henry IV, part 2 ; King Henry V -- v. 18. King Henry VI ; Malone's dissertation. -- v. 19. King Richard III ; King Henry VIII -- v. 20. Venus and Adonis ; Rape of Lucrece ; Sonnets ; Lover's complaint ; Passionate pilgrim ; Memoirs of Lord Southampton. -- v. 21. Pericles ; Titus Andronicus. Addenda. Indexes. Errata.

"The plays follow the lives of a princess and a whore. Although set in Italy, this passionate tale of paternal disapproval and sexual deceit savours more of the underworld of Jacobean London with its asylums and prisons, gambling and prostitution. This edition presents both parts of the play, which was revived in a condensed version at the Globe Theatre in 1998."--BOOK JACKET.

"The Trojan Women" is a play by the 5th century B.C. Greek dramatist Euripides. The story takes place at the end of the Trojan war and is focused on the Greeks' division of the spoils, who happen to be the survivors of the ten year war, the Trojan women. The main protagonist is Hecuba, the queen of Troy, and through her and her daughter Cassandra and her daughter in law Andromache (widow of Hecuba's son Hector) we are led through the process by which the surviving Trojan women realize the horrors of their fates. Euripides shows us via an insistent sense of immediacy incident by incident, step by inevitable step, through a messenger, what their individual fates are to be and that there can be no reprieve. The horrors of war these women faced for ten years will not abate simply because the battle has ended. The play is as topical now as when it was written for during the writing Athens and Sparta were involved in their long and ruinous Peloponnesian war. It is known Euripides was opposed to this war. And the chaos this war brought ended Athenian democracy.

Contains: All’s Well That Ends Well Antony and Cleopatra As You Like It Comedy of Errors Coriolanus Cymbeline [Hamlet]( Julius Caesar King Henry IV. Part 1 King Henry IV. Part 2 King Henry V King Henry VI. Part 1 King Henry VI. Part 2 King Henry VI. Part 3 King Henry VIII King John King Lear King Richard II King Richard III Locrine London Prodigal Love’s Labour’s Lost Macbeth Measure for Measure Merchant of Venice Merry Wives of Windsor Midsummer Night’s Dream [Much Ado About Nothing]( Othello Pericles Puritan [Romeo and Juliet]( Sir John Oldcastle Taming of the Shrew [Tempest]( Thomas Lord Cromwell Timon of Athens Titus Andronicus Troilus and Cressida Twelfth Night Two Gentlemen of Verona Winter’s Tale Yorkshire Tragedy

Preface signed: Theodore Alois Buckley.

Emilia Galotti (1772), a tragedy in five acts by Gotthold Ephraim Lessing (1729–1781), is considered his masterpiece. The plot of the tragedy is based on a Roman story about a father who killed his daughter to save her from being pursued and violated by a noble. The action of Lessing’s play takes place in the imaginary Italian principality of Guastalla. The lecherous and despotic prince has chosen as his next victim the beautiful Emilia, Colonel Odoardo Galotti’s daughter. Odoardo is proud and courageous. He detests the immoral life of the court and the prince himself. He cannot be bribed or frightened. Emilia is about to marry the noble and independent Count Appiani. In order to get Emilia, the prince, prompted by his chamberlain, Marinelli, commits a perfidious act. As the count and his bride are coming to the marriage service, the killers hired by Marinelli attack them. The count is dead, and Emilia is in the prince’s hands at his palace, to which his servants lead her, supposedly to give her aid. Once Odoardo learns about this, he hastens to the palace in order to take Emilia from there. However, he does not have a clue about his sovereign’s true intentions. But Countess Orsina, the former lover of the prince, whom he abandoned for Emilia’s sake, reveals the truth to him. The old Galotti is terrified and indignant. He wants to reclaim his daughter, but the prince will not let him take her back. The father tells the prince that paternal duty requires him to place Emilia in a monastery. He says, Prince, paternal love is jealous of its duties. I think I know what alone suits my daughter in her present situation. Retirement from the world—a cloister as soon as possible. (act 5, scene 5) The prince is confused, because such a turn of events disrupts his plans for the young lady. But the wily Marinelli comes to his aid by resorting to downright slander. He says that the count was not attacked by robbers but rather, as is being rumored, by a person who is in favor with Emilia. Marinelli threatens to arrest Emilia and accuse her of having conspired to kill the count. He demands that the young lady be interrogated and the court proceedings be brought. Emilia runs to her father, and after a few words, Odoardo becomes confident that she is innocent. Emilia is outraged because of the violence and the injustice committed. But she confesses to her father that she is more fearful of seduction. Force can be resisted, but seduction is much more perilous. She exclaims, Force! Force! What is that? Who may not defy force? What you call force is nothing. Seduction is the only real force. I have blood, my father, as youthful and as warm as that of others. I have senses too. I cannot pledge myself: I guarantee nothing. (act 5, scene 7) The young lady is apprehensive of the frailty of her own soul before the seduction of the wealth, grandeur, and alluring words of the prince. Emilia asks her father to give her a dagger. She wants to stab herself, but her father wrests the dagger from her. She plucks the leaves of the rose that decks her head. And as she does so, she pleads with her father to stab her to save her from disgrace. Emilia dies in the old Galotti’s hands, saying, Broken a rose before the storm had robbed it of its bloom. (act 5, scene 8) - "Emilia Galotti - Summary" eNotes Publishing Ed. eNotes Editorial. eNotes.com, Inc. eNotes.com 15 Oct, 2019