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TWELFTH NIGHT: The Classic Biography: The Life of William Shakespeare: Twelfth Night Or, What You Will Kindle Edition
|New from||Used from|
|Kindle, 6 December 2017||
|Length: 82 pages||Word Wise: Enabled||Enhanced Typesetting: Enabled|
|Page Flip: Enabled||
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The attentive listener can follow the permutations of the plot and its humor quite well in this production.-- "AudioFile" --This text refers to an alternate kindle_edition edition.
Excerpt. © Reprinted by permission. All rights reserved.
In recent years, ways of dealing with Shakespeare’s texts and with the interpretation of his plays have been undergoing significant change. This edition, while retaining many of the features that have always made the Folger Shakespeare so attractive to the general reader, at the same time reflects these current ways of thinking about Shakespeare. For example, modern readers, actors, and teachers have become interested in the differences between, on the one hand, the early forms in which Shakespeare’s plays were first published and, on the other hand, the forms in which editors through the centuries have presented them. In response to this interest, we have based our edition on what we consider the best early printed version of a particular play (explaining our rationale in a section called “An Introduction to This Text”) and have marked our changes in the text—unobtrusively, we hope, but in such a way that the curious reader can be aware that a change has been made and can consult the “Textual Notes” to discover what appeared in the early printed version.
Current ways of looking at the plays are reflected in our brief introductions, in many of the commentary notes, in the annotated lists of “Further Reading,” and especially in each play’s “Modern Perspective,” an essay written by an outstanding scholar who brings to the reader his or her fresh assessment of the play in the light of today’s interests and concerns.
As in the Folger Library General Reader’s Shakespeare, which this edition replaces, we include explanatory notes designed to help make Shakespeare’s language clearer to a modern reader, and we hyperlink notes to the lines that they explain. We also follow the earlier edition in including illustrations—of objects, of clothing, of mythological figures—from books and manuscripts in the Folger Library collection. We provide fresh accounts of the life of Shakespeare, of the publishing of his plays, and of the theaters in which his plays were performed, as well as an introduction to the text itself. We also include a section called “Reading Shakespeare’s Language,” in which we try to help readers learn to “break the code” of Elizabethan poetic language.
For each section of each volume, we are indebted to a host of generous experts and fellow scholars. The “Reading Shakespeare’s Language” sections, for example, could not have been written had not Arthur King, of Brigham Young University, and Randal Robinson, author of Unlocking Shakespeare’s Language, led the way in untangling Shakespearean language puzzles and shared their insights and methodologies generously with us. “Shakespeare’s Life” profited by the careful reading given it by S. Schoenbaum, “Shakespeare’s Theater” was read and strengthened by Andrew Gurr and John Astington, and “The Publication of Shakespeare’s Plays” is indebted to the comments of Peter W. M. Blayney. We, as editors, take sole responsibility for any errors in our editions.
We are grateful to the authors of the “Modern Perspectives,” to Leeds Barroll and David Bevington for their generous encouragement, to the Huntington and Newberry Libraries for fellowship support, to King’s College for the grants it has provided to Paul Werstine, to the Social Sciences and Humanities Research Council of Canada, which provided him with a Research Time Stipend for 1990–91, and to the Folger Institute’s Center for Shakespeare Studies for its fortuitous sponsorship of a workshop on “Shakespeare’s Texts for Students and Teachers” (funded by the National Endowment for the Humanities and led by Richard Knowles of the University of Wisconsin), a workshop from which we learned an enormous amount about what is wanted by college and high-school teachers of Shakespeare today.
Our biggest debt is to the Folger Shakespeare Library: to Michael Witmore, Director of the Folger Shakespeare Library, who brings to our work a gratifying enthusiasm and vision; to Gail Kern Paster, Director of the Library from 2002 until July 2011, whose interest and support have been unfailing and whose scholarly expertise continues to be an invaluable resource; and to Werner Gundersheimer, the Library’s Director from 1984 to 2002, who made possible our edition; to Jean Miller, the Library’s Art Curator, who combed the Library holdings for illustrations, and to Julie Ainsworth, Head of the Photography Department, who carefully photographed them; to Georgianna Ziegler, Reference Librarian, whose research skills have been invaluable; to Peggy O’Brien, Director of Education, who gave us expert advice about the needs being expressed by Shakespeare teachers and students (and to Martha Christian and other “master teachers” who used our texts in manuscript in their classrooms); to the staff of the Academic Programs Division, especially Paul Menzer (who drafted “Further Reading” material), Mary Tonkinson, Lena Cowen Orlin, Molly Haws, Amy Adler, and Jessica Hymowitz; to Rachel Duchak, who helped us find the “new map;” and, finally, to the staff of the Library Reading Room, whose patience and support have been invaluable.
Barbara A. Mowat and Paul Werstine --This text refers to an alternate kindle_edition edition.
- ASIN : B0786G16GH
- Publisher : Wentworth Press (6 December 2017)
- Language : English
- File size : 1417 KB
- Text-to-Speech : Enabled
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Print length : 82 pages
- Best Sellers Rank: 751,677 in Kindle Store (See Top 100 in Kindle Store)
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She loves the style and layout of this particular publisher.
Having tried various other publications she found them to be a little confusing and disorganised due to the layout and lack of spacing.
This version allows her space to write her own notes plus there is a clear visual definition between each speaking character, making it much easier and clearer to pick out specific parts.
In her opinion this is a fantastic must have for English Literature at A Level.
The enchanting story of Viola dressed as the page Cesario, with whom both Orsino and Orsino's erstwhile object of desire fall in love, is filled with rapturous poetry that articulates love, desire and romantic melancholy. But these central relationships are modulated by Malvolio's desire for his mistress Olivia, the bawdy comedy of Sir Toby Belch, and Antonio's unrequited desire for Viola's twin, Sebastian.
Ultimately social harmony is restored - but the portrait of Malvolio gives us an insight, perhaps, into how characters such as Edmund in King Lear, and Iago are created.
So a sunny, feel-good romantic comedy, but shaded lightly by a darker tinge.
A week later we saw the play in Stratford and he had no problem following the story, he even new the different characters.