Hear dramatic readings of the plays of William Shakepeare and listen to them come to life!
All's Well That Ends Well by
Although originally classified as one of Shakespeare's comedies, All's Well That Ends Well is now more commonly classified as one of his ambiguous problem plays, so called because they defy neat classification as either comedy or tragedy. Helena, a servant harbors a secret love for Betram her mistresses' son. When the king becomes ill Helena promises to heal him if she is allowed to marry any man of her choosing. Helena's father is a renowned physician and the young girl...
As You Like It by
As You Like It is truly one of Shakespeare's greatest romantic comedies. The heroine, Rosalind has grown up in the court of her usurping uncle Duke Frederick, her father, the rightful duke, having been exiled by his younger brother. Rosalind falls in love with Orlando, but Orlando is forced to flee when he is persecuted by his older brother Oliver. Soon Rosalind is also banished from the court by her uncle. Switching genders she assumes the identity of Ganymede and with her...
The Comedy of Errors by
The Comedy of Errors is one of Shakespeare's most popular short comedy plays. The plot is driven by two cases of mistaken identity and witty pun-drenched dialogue. Antipholus of Syracuse and his servant of Dromio of Syraceuse visit the town of Ephesus, not realizing that this is the home of Antipholus of Ephesus and Dromio of Ephesus, their twin brothers lost to them at sea years before. Before reuniting, the doppelgangers cause chaos amongst friends and family when they all...
Love's Labour's Lost by
Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s, and first published in 1598. The play opens with the King of Navarre and three noble companions, Berowne, Dumaine, and Longaville, taking an oath to devote themselves to three years of study, promising not to give in to the company of women
The Merchant of Venice by
The Merchant of Venice is classed as one of Shakespeare's comedies, but is more often remembered for its dramatic characters and situations. Though the villain of the piece, the Jewish moneylender Shylock is often the most prominent and well-remembered character of the play. As he can be played and directed either sympathetically or wholly villainous, the play remains a highly contentious piece of theater.
A Midsummer Night's Dream by
Midsummer Night's Dream is Shakespeare's classic tale of two couples who can't quite pair up to everyone's satisfaction. Demetrius and Lysander love Hermia. Hermia loves Lysander but has been promised to Demetrius by her father. Hermia's best friend Helena loves Demetrius, but in his obsession for Hermia Demetrius barely even notices her smitten friend. When Hermia and Lysander plan to elope all four find themselves in the forest late at night where the fairy Puck and his lord...
Much Ado about Nothing by
Shakespeare's comedy play Much Ado About Nothing pivots around the impediments to love for young betrothed Hero and Claudio when Hero is falsely accused of infidelity and the lover's trap set for the arrogant and assured Benedick who has sworn of marriage and his gentle adversary Beatrice. The merry war between Benedick and Beatrice with the promptings of their friends soon dissolves into farcical love, while Hero's supposed infidelity is shown to be little more...
The Taming of the Shrew by
The Taming of the Shrew is perhaps one of Shakespeare's most controversial plays by modern standards. Hinging on the courtship between the arrogant Petruchio and the shrew of the title Katherina, it is unclear whether Shakespeare's blatantly misogynistic themes were in earnest or tongue in cheek. The charming and tender Bianca is forbidden to marry until her elder sister, Katherine is spoken for. Bianca's suitors enlist Petruchio to woo Katherina for her dowry...
The Tempest by
The Tempest is thought by many to be Shakespeare's greatest and most perfect play. When the magician Prospero deliberately summons a storm to overcome his enemy King Alonso of Naples ship the passengers are washed ashore on a fantastical island. Prospero manipulates the king, his entourage, apparitions and fiends as he schemes revenge on the hapless Alonso. Prospero's daughter and the King's son Ferdinand fall in love and their fraught lover provides the catalyst for their...
Twelfth Night by
Twelfth Night is one of Shakespeare’s funniest plays and also one of his most romantic. A young noblewoman, Viola, shipwrecked in a foreign land and separated from her twin brother, dresses as a man in order to enter the service of Orsino, duke of Illyria. Complications ensue--deceptions, infatuations, misdirected overtures, malevolent pranks--as everyone is drawn into the hilarious confusion.
Antony and Cleopatra by
Antony and Cleopatra is a tragic play by Shakespeare, which tells the ill-fated love story between Antony and Cleopatra and the antagonistic role played by Julius Caesar, future Emperor of Rome. I will tell you. The barge she sat in, like a burnish'd throne, Burn'd on the water: the poop was beaten gold; Purple the sails, and so perfumed that The winds were love-sick with them; the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow...
Hamlet by
One of the most frequently read and performed of all stage works, Shakespeare's Hamlet is unsurpassed in its complexity and richness. Now the first fully annotated version of Hamlet makes the play completely accessible to readers in the twenty-first century. It has been carefully assembled with students, teachers, and the general reader in mind. Eminent linguist and translator Burton Raffel offers generous help with vocabulary and usage of Elizabethan English, pronunciation, prosody, and alternative readings of phrases and lines. His on-page annotations provide readers with all the tools they need to comprehend the play and begin to explore its many possible interpretations. This version of Hamlet is unparalleled for its thoroughness and adherence to sound linguistic principles. In his Introduction, Raffel offers important background on the origins and previous versions of the Hamlet story, along with an analysis of the characters Hamlet and Ophelia. And in a concluding essay, Harold Bloom meditates on the originality of Shakespeare's achievement.
Julius Caesar by
The first tragedy to be played in the new Globe Theatre, Julius Caesar is set at a crucial turning point in Roman history, as the Republican gives way to the imperial. Safely removed in time and place from Shakespeare’s Elizabethan England, Rome makes the perfect laboratory for the playwright’s free-ranging political analysis.
King Lear by
King Lear, one of Shakespeare's darkest and most savage plays, tells the story of the foolish and Job-like Lear, who divides his kingdom, as he does his affections, according to vanity and whim. Lear’s failure as a father engulfs himself and his world in turmoil and tragedy.
Macbeth by
Perhaps no other Shakespearean drama so engulfs its readers in the ruinous journey of surrender to evil as does Macbeth. A timeless tragedy about the nature of ambition, conscience, and the human heart, the play holds a profound grip on the Western imagination.
Othello by
One of the most powerful dramas ever written for the stage, Othello is a story of revenge, illusion, passion, mistrust, jealousy, and murder. If in Iago Shakespeare created the most compelling villain in Western literature, in Othello and Desdemona he gave us our most tragic and unforgettable lovers.
Romeo and Juliet by
Shakespeare’s Romeo and Juliet is perhaps the most read and beloved of all stage works. Now the most extensively annotated version of the play to date makes it completely accessible to readers in the twenty-first century. The new edition is a rich resource for students, teachers, and the general reader. Eminent linguist and translator Burton Raffel offers generous help with vocabulary and usage of Elizabethan English, pronunciation, prosody, and alternative readings of phrases and lines. His on-page annotations provide readers with the tools they need to comprehend the play and begin to explore its many possible interpretations. This version of Romeo and Juliet is unparalleled for its thoroughness and adherence to sound linguistic principles. In his introduction, Raffel provides historical and social contexts that increase the reader’s understanding of the play. And in a concluding essay, Harold Bloom argues that Romeo and Juliet is unmatched in the world’s literature "as a vision of an uncompromising love that perishes of its own idealism and intensity.”
Timon of Athens by
Timon of Athens is a bitterly intriguing study of a fabulously rich man who wastes his wealth on his friends, and, when he is finally impoverished, learns to despise humanity with a hatred that drives him to his grave. This edition offers an up-to-date commentary on the play that is more detailed and more thorough than any previously published, as well as a detailed discussion of Thomas Middleton's collaboration with Shakespeare.
Henry the Fourth, Part One by
While England is threatened by the Earl of Northumberland, Young Prince Hal cavorts in London's taverns, accompanied by the dissolute, entertaining Falstaff and his band of rogues. Much of this play's tension involves Prince Hal and Falstaff, as the former tries to live up to his duties and responsibilities. In creating Falstaff Shakespeare gave us one of the theater's most enduring and memorable characters.
King Richard III by
Richard III belongs to Shakespeare's folio of King Richard plays, and is the longest of his plays after Hamlet. It is classified variously as a tragedy and a history, showing the reign of Richard III in an unflattering light. The play's length springs in part from its reference to the other Richard plays, with which Shakespeare assumed his audience would be familiar. These references and characters are often edited out to create an abridged version when the play is performed...
The Complete Sonnets and Poems by
This is the only fully annotated and modernized edition to bring together Shakespeare's sonnets as well as all his poems (including those attributed to him after his death) in one volume. A full introduction discusses his development as a poet, and how the poems relate to the plays, and detailed notes explain the language and allusions. While accessibly written, the edition takes account of the most recent scholarship and criticism.
Shakespeare's Sonnets by
The Sonnets compiles 154 Sonnets written by Shakespeare on all manner of themes from love and fidelity to politics and lineage. Many of the sonnets - in particular the first 17, commonly called the procreation sonnets - were commissioned, a fact which calls a simple, romantic reading into question.
The Best of Shakespeare by
At the heart of any great work of literature is a story. William Shakespeare's plays are no exception. They tell the stories of kings and queens, of ghosts and witches, of romance and passion. But to get to the stories at the heart of the Bard's plays, the reader must first work through Shakespeare's language, a task often too demanding for younger readers (and for many adults). This new paperback edition brings ten of Shakespeare's greatest plays to life. E. Nesbit, the classic British children's author, shakes off the burdensome complexity of Shakespeare's language and tells the stories at the core of the plays with a generous sprinkle of wit and humor. Her graceful, vivid retellings, written in highly accessible and lucid prose, are the perfect introduction to Shakespeare's work. All of these major works are included in this anthology: Romeo and Juliet, Hamlet, Macbeth, Othello, King Lear, The Merchant of Venice, The Tempest, As You Like It, The Winter's Tale, and Twelfth Night. The text is illustrated with dramatic black-and-white photographs from contemporary productions of the plays by the Royal Shakespeare Company, the Stratford Festival (Ontario, Canada), and the Folger Library's Shakespeare Theater. Also included is an afterword by Peter Hunt, a leading scholar of children's literature. These retellings of the classic tales of one of the world's greatest playwrights remind us that it is never too early for Shakespeare.
Shakespeare Monologues for Women by
Fifty monologues for women drawn from across the Shakespeare canon. Ideal for actors of all ages and experience. Also includes uniquely formatted summarizations to each piece.
Shakespeare Monologues for Men by
Fifty monologues for men drawn from across the Shakespeare canon. Each is prefaced with an easy-to-use guide to who is speaking, where, when, and to whom; what has just happened in the play; and what the character's objectives are. In fact, it contains everything the actor needs to know before embarking on the audition!
Shakespeare by
Without Johann Gottfried Herder (1744-1803), we simply would not understand Shakespeare in the way we do. In fact, much literature and art besides Shakespeare would neither look the same nor be the same without the influence of Herder's "Shakespeare" (1773). One of the most important and original works in the history of literary criticism, this passionate essay pioneered a new, historicist approach to cultural artifacts by arguing that they should be judged not by their conformity to a set of conventions imported from another time and place, but by the effectiveness of their response to their own historical and cultural context. Rejecting the authority of a dominant and stifling French neoclassicism that judged eighteenth-century plays by the criteria of Aristotle, Herder's "Shakespeare" signaled a break with the Enlightenment, the approach of Romanticism, and the arrival of a distinctly modern form of aesthetic appreciation. With a vivid new translation and a fascinating introduction by Gregory Moore, this edition of Herder's classic will speak to today's readers with undiminished power and persuasiveness.
Shakespeare and Religion by
This book sets Shakespeare in the religious context of his times, presenting a balanced, up-to-date account of current biographical and critical debates, and addressing the fascinating, understudied topic of how Shakespeare's writing was perceived by literary contemporaries ? both Catholic and Protestant -- whose priorities were more obviously religious than his own. It advances new readings of several plays, especially Hamlet, King Lear and The Winter's Tale; these draw in many cases on new and under-exploited contemporary analogues, ranging from conversion narratives, books of devotion and polemical pamphlets to manuscript drama and emblems. Shakespeare's writing has been seen both as profoundly religious, giving everyday human life a sacramental quality, and as profoundly secular, foreshadowing the kind of humanism that sees no necessity for God. This study attempts to reconcile these two points of view, describing a writer whose language is saturated in religious discourse and whose dramaturgy is highly attentive to religious precedent, but whose invariable practice is to subordinate religious matter to the particular aesthetic demands of the work in hand. For Shakespeare, as for few of his contemporaries, the Judaeo-Christian story is something less than a master narrative.
Shakespeare and Moral Agency by
Shakespeare and Moral Agency presents a collection of new essays by literary scholars and philosophers considering character and action in Shakespeare's plays as heuristic models for the exploration of some salient problems in the field of moral inquiry. Together they offer a unified presentation of an emerging orientation in Shakespeare studies, drawing on recent work in ethics, philosophy of mind, and analytic aesthetics to construct a powerful framework for the critical analysis of Shakespeare's works. Contributors suggest new possibilities for the interpretation of Shakespearean drama by engaging with the rich body of contemporary work in the field of moral philosophy, offering significant insights for literary criticism, for pedagogy, and also for theatrical performance.
Shakespeare, Sex, and Love by
This well-illustrated book offers first a fascinating and informative account of the part played by sex in Shakespeare's Stratford-upon-Avon and London, and in his own life, followed by discussion of various aspects of his treatment of love and sex in his plays. There are chapters on the humour that Shakespeare gets out of sex in his comedies, on the ways in which he relates sexual desire to both lust and love, and a discussion of Romeo and Juliet as theplay in which in which he focuses most centrally on issues relating to sex, love, and the relationship between them. A chapter on sexual jealousy traces his treatment of the topic in four major plays. 'Sexual Experience' studies his portrayal of, mainly, older lovers, and 'Whores and Saints' looks at hisportrayals of the extremes of womanhood. A final chapter, 'Just Good Friends', investigates his depiction of same-gender relationships.
Shakespeare's Sexual Language by
Shakespeare's use of sexual language, imagery and erotic themes is extensive, varied, and although this is necessarily hard to establish, probably innovative at times. This glossary provides a first-hand guide to Shakespeare's sexual language, some of which is notoriously difficult to unravel and whose roots go back into earlier literature. Compiled by Gordon Williams, author of the authoritative three volume Dictionary of Sexual Language and Imagery in Shakespearean and Stuart Literature, this is a comprehensive but concise reference guide to sexual language and imagery in Shakespeare. Entries are cross-referenced and include references to textual examples where possible.
Shakespeare's Musical Imagery by
Music pervades Shakespeare'swork. In addition to vocal songs and numerous instrumental cues there arethousands of references to music throughout the plays and many of the poems.This book discusses Shakespeare's musical imagery according to categories definedby occurrence in the plays and poems. In turn, these categories depend on theirearly modern usage and significance. Thus, instruments such as lute and violdeserve special attention just as Renaissance ideas relating to musicalphilosophy and pedagogical theory need contextual explanation. The objective isto locate Shakespeare's musical imagery, reference and metaphor in itsimmediate context in a play or poem and explain its meaning. Discussion andexplanation of the musical imagery suggests a range of possible dramatic andpoetic purposes these musical references serve.
Shakespeare and the Medieval World by
Helen Cooper's unique study examines how continuations of medieval culture into the early modern period, forged Shakespeare's development as a dramatist and poet. Medieval culture pervaded his life and work, from his childhood, spent within reach of the last performances of the Coventry Corpus Christi plays, to his dramatisation of Chaucer in The Two Noble Kinsmen three years before his death. The world he lived in was still largely a medieval one, in its topography and its institutions. The language he spoke had been forged over the centuries since the Norman Conquest. The genres in which he wrote, not least historical tragedy, love-comedy and romance, were medieval inventions. A high proportion of his plays have medieval origins and he kept returning to Chaucer, acknowledged as the greatest poet in the English language. Above all, he grew up with an English tradition of drama developed during the Middle Ages that assumed that it was possible to stage anything - all time, all space. Shakespeare and the Medieval World provides a panoramic overview that opens up new vistas within his work and uncovers the richness of his inheritance.
Shakespeare and Elizabethan Popular Culture by
While much has been written on Shakespeare's debt to the classical tradition, less has been said about his roots in the popular culture of his own time. This is the first book to explore the full range of his debts to Elizabethan popular culture. Topics covered include the mystery plays, festive custom, clowns, romance and popular fiction, folklore and superstition, everyday sayings, and popular songs. These essays show how Shakespeare, throughout his dramatic work, used popular culture. A final chapter, which considers ballads with Shakespearean connections in the seventeenth century, shows how popular culture immediately after his time used Shakespeare.
Shakespeare and Women by
Shakespeare and Women situates Shakespeare's female characters in multiple historical contexts, ranging from the early modern England in which they originated to the contemporary Western world in which our own encounters with them are staged. In so doing, this book seeks to challenge currently prevalent views of Shakespeare's women-both the women he depicted in his plays and the women he encountered in the world he inhabited. Chapter 1, "A Usable History," analyses the implications and consequences of the emphasis on patriarchal power, male misogyny, and women's oppression that has dominated recent feminist Shakespeare scholarship, while subsequent chapters propose alternative models for feminist analysis. Chapter 2, "The Place(s) of Women in Shakespeare's World," emphasizes the frequently overlooked kinds of social, political, and economic agency exercised by the women Shakespeare would have known in both Stratford and London. Chapter 3, "Our Canon, Ourselves," addresses the implications of the modern popularity of plays such as The Taming of the Shrew which seem to endorse women's subjugation, arguing that the plays--and the aspects of those plays--that we have chosen to emphasize tell us more about our own assumptions than about the beliefs that informed the responses of Shakespeare's first audiences. Chapter 4, "Boys will be Girls," explores the consequences for women of the use of male actors to play women's roles. Chapter 5, "The Lady's Reeking Breath," turns to the sonnets, the texts that seem most resistant to feminist appropriation, to argue that Shakespeare's rewriting of the idealized Petrarchan lady anticipates modern feminist critiques of the essential misogyny of the Petrarchan tradition. The final chapter, "Shakespeare's Timeless Women," surveys the implication of Shakespeare's female characters in the process of historical change, as they have been repeatedly updated to conform to changing conceptions of women's nature and women's social roles, serving in ever-changing guises as models of an unchanging, universal female nature.
Shakespeare's Names by
How do names attach themselves to particular objects and people and does this connection mean anything? This is a question which goes as far back as Plato and can still be seen in contemporary society with books of Names to Give Your Baby or Reader's Digest columns of apt names and professions. For the Renaissance the vexed question of naming was a subset of the larger but equally vexed subject of language: is language arbitrary and conventional (it is simply an agreed label for a pre-existing entity) or is it motivated (it creates the entity which it names)? Shakespeare's Names is a book for language-lovers. Laurie Maguire's witty and learned study examines names, their origins, cultural attitudes to them, and naming practices across centuries and continents, exploring what it means for Shakespeare's characters to bear the names they do. She approaches her subject through close analysis of the associations and use of names in a range of Shakespeare plays, and in a range of performances. The focus is Shakespeare, and in particular six key plays: Romeo and Juliet; Comedy of Errors; The Taming of the Shrew; A Midsummer Night's Dream; All's Well that Ends Well; and Troilus and Cressida. But the book also shows what Shakespeare inherited and where the topic developed after him. Thus the discussion includes myth, the Bible, Greek literature, psychological analysis, literary theory, social anthropology, etymology, baptismal trends, puns, different cultures' and periods' social practice as regards the bestowing and interpreting of names, and English literature in the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries; the reader will also find material from contemporary journalism, film, and cartoons.
Shakespeare and Philosophy by
This book is an interdisciplinary work that weaves literary interpretation, legal theory, and philosophical doctrine about sex and love into a coherent mosaic in the context of two of Shakespeare's plays: "The Merchant of Venice "and "Measure for Measure." In the process, the work advances literary interpretations of the plays including character studies of some of the main protagonists. The aim is partly theoretical but mostly practical: to demonstrate what we can learn about living a robustly meaningful and significant human life by taking Shakespeare's work seriously from contemporary philosophical and legal vantage points. Shakespeare does not reveal a tightly defined moral system that he is trying to urge upon his audience. Instead, Shakespeare challenges his audience to struggle with moral complexity as they confront conflicting elements surrounding legal and moral issues presented in his work and within the souls of his characters. His issues and their conflicts are also ours. Much of Shakespeare's work consists of raising weighty questions inextricably connected to the human condition and inviting his audience to ponder possible answers. The philosophical lessons about living our lives meaningfully and significantly that we can derive from Shakespeare are simple yet powerful.
