King LearRandom House Publishing Group, 04.08.2009 - 272 Seiten A king foolishly divides his kingdom between his scheming two oldest daughters and estranges himself from the daughter who loves him. So begins this profoundly moving and disturbing tragedy that, perhaps more than any other work in literature, challenges the notion of a coherent and just universe. The king and others pay dearly for their shortcomings–as madness, murder, and the anguish of insight and forgiveness that arrive too late combine to make this an all-embracing tragedy of evil and suffering. Each Edition Includes: • Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English • Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography |
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Seite xi
... God , whereas Edmund , like an apologist before the letter for the political philosophy of Thomas Hobbes , commits himself to " nature " as a principle of survival and self - seeking . Gloucester's philosophical orientation , meanwhile ...
... God , whereas Edmund , like an apologist before the letter for the political philosophy of Thomas Hobbes , commits himself to " nature " as a principle of survival and self - seeking . Gloucester's philosophical orientation , meanwhile ...
Seite xii
... gods defend her !, " only for Lear to enter with her in his arms already hanged . The gods have not defended her . Then Albany tries to give power back to Lear - and he promptly dies . Then he tries to persuade Kent and Edgar to divide ...
... gods defend her !, " only for Lear to enter with her in his arms already hanged . The gods have not defended her . Then Albany tries to give power back to Lear - and he promptly dies . Then he tries to persuade Kent and Edgar to divide ...
Seite xiii
... gods as audience , we are the fools on stage . Under the aspect of Folly , we see that a king is no different from any other man . The trappings of monarchy are but a costume : this is both Folly's and Lear's discovery . Erasmus ' Folly ...
... gods as audience , we are the fools on stage . Under the aspect of Folly , we see that a king is no different from any other man . The trappings of monarchy are but a costume : this is both Folly's and Lear's discovery . Erasmus ' Folly ...
Seite 10
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Inhalt
Textual Notes | 122 |
ScenebyScene Analysis | 142 |
The RSC and Beyond | 156 |
Shakespeares Career in the Theater | 203 |
A Chronology | 218 |
References | 226 |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
Act 4 Scene actor Adrian Noble Alack Albany Albany's Antony Antony Sher audience bastard beggar blind Brian Cox Burgundy Cordelia Corin Redgrave CORNWALL daughters death disguised dost Dover Duke Duke of Cornwall Edgar editors Edmund Enter Lear Exeunt Exit eyes father feel Following fortune France GENTLEMAN give gods Goneril Goneril and Regan grace hath heart human Ian McKellen Jonathan Bate KENT KENT LEAR King Lear kingdom knave LEAR FOOL LEAR KENT Lear's letter Lines look lord madam messenger Michael Gambon nature night nuncle performance Peter Brook pity played Lear poor Pray production Q corrected Q uncorrected Quarto text Regan role Royal Shakespeare Company running scene sense servant Shake Shakespeare sister speak speech stage storm tell theater thee there's thine things Tragedy traitor Trevor Nunn trumpet villain