The Norton Shakespeare

The Norton Shakespeare The Norton Shakespeare Greenblatt, StephenNotRetrouvez The Norton Shakespeare Et Des Millions De Livres En Stock SurAchetez Neuf Ou D OccasionThe Norton Shakespeare Based On The OxfordThe Norton Shakespeare Based On The Oxford Shakespeare If You Are Buying This For Open University Module AA, Beware Of This First Edition I Just Bought This Having Tracked It Down Whilst Bargain Seeking, Clicking On Links For The Author Etc, And Mistakenly Thought That Textbook Bound A Stronger Paperback Binding,from Thedescription Was An Alternative Cover Of The Book I Wanted Which The Norton Shakespeare Reli William ShakespeareThe Norton Shakespeare, William Shakespeare, Norton Company Des Milliers De Livres Avec La Livraison Chez Vous Enjour Ou En Magasin Avec % De RductionThe Norton Shakespeare Essential PlaysNotRetrouvez The Norton Shakespeare Essential Plays Sonnets E Et Des Millions De Livres En Stock SurAchetez Neuf Ou D OccasionThe Norton Shakespeare Greenblatt PH DNo Norton, No Shakespeare The Notation Is So Well Laid Out, Unfamiliar Words Are Simply Translated To Modern Familiar Words Right Across, Withdetailed Notation Easily Footnoted Numerically Below On The Same Page So No Annoying Page Flipping Just About Any Other So Called Annotated Shakespeare Work I Ve Looked At Is A Complete Pain In The Neck By Comparison And What S Evenwonderful Is ThatThe Norton Shakespeare Comedies HistoriesNotRetrouvez The Norton Shakespeare Comedies Histories Tragedies Romances Et Des Millions De Livres En Stock SurAchetez Neuf Ou D Occasion The Norton Shakespeare Stephen Greenblatt, Both An Enhanced Digital Edition The First Edited Specifically For Undergraduates And A Handsome Print Volume, The Norton Shakespeare , Third Edition, Provides A Freshly Edited Text, Acclaimed Apparatus, And An Unmatched Value The Norton Shakespeare, Stephen Greenblatt, Walter Cohen, Suzanne Gossett, Jean E Howard, Katharine Eisaman Maus, Gordon McMullan,The Norton Shakespeare By William Shakespeare The Norton Shakespeare Is A Collection Of Shakespeare S Complete Works, Including The Sonnets, Including Essays And Introductions On Each, With Glosses And Footnotes For The Modern Reader Where The Meaning Of Words And Phrases Isn T Obvious, Or Where The Modern Reader Needs Some Context It S Not Something I Tend To Need, But It Has Been Helpful On A Few Occasions The Norton Shakespeare By Stephen Greenblatt The Best Norton By Far The Digital Version Enhances The Physical Volume And Provides Any Student Or Shakespeare Enthusiast The Tools To Delve Further Into Shakespeare S Work And World Than Any Other Edition Flaglikes Like See Review Sep ,Matt Rated It It Was Amazing The Norton Shakespeare Free PDF, DOC, EPUB, TXT Both An Enhanced Digital Edition The First Edited Specifically For Undergraduates And A Handsome Print Volume, The Norton Shakespeare, Third Edition, Provides A Freshly Edited Text, Acclaimed Apparatus, And An Unmatched Value The Attractive Print And Digital Bundle Offers Students A Great Reading Experience At An Affordable BFBAC

William Shakespeare (baptised 26 April 1564) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been tr

➷ The Norton Shakespeare Free ➭ Author William Shakespeare –
  • Hardcover
  • 3420 pages
  • The Norton Shakespeare
  • William Shakespeare
  • 15 July 2019
  • 9780393970883

10 thoughts on “The Norton Shakespeare

  1. says:

    I have just read every Shakespeare play from this edition and than some. This has been a goal of mine for some time. Some plays I've read previously for various classes in high school and college, but there was a bit of his stuff I never read before and some stuff I didn't even realize that existed until picking up this book for a second time. I got this book n college and this was a pain in the ass to carry around campus, but in the long run, this book was worth getting. This is something won't ever get rid of and will use constantly.

    Some Rereading Thoughts:
    1. I still don't think Shakespeare is the best writer of all time. I feel like too many of his plays were written for higher people rather than what he possibly wanted to write instead. He possibly didn't have an education and sometimes I question what plays he even wrote or if they were written by someone else. His history plays I really don't care for and sometimes felt like they were for propaganda reasons. HOWEVER, regardless of my opinions, I still think Shakespeare is very important to read at least once in your life. Nearly every writer after him has quoted him, referenced him, or was inspired by him in some way. To read Shakespeare is to fully understand literature in someway.

    2. I noticed there is a difference in tone with the Elizabethan plays and the Jacobean plays. The plays during Elizabeth's time felt like he was still trying everything out for the first time. There are a few favorites I have during this time, but I admit I like his plays during James better. During James, we see more strangeness and magic. I remember being taught James liked this and asked Shakespeare for more ghost and magic in the plays.

    3. Is it possible every Shakespeare play is connected and in the same universe? There are several characters that appear in other plays and mentions of previous characters. His universe isn't our own though. Unlike our's, his is filled with ghost, magic, and the gods. Some of the history has been changed, but maybe for his universe it was meant for that change. I noticed too most of his plays mention the word "tempest" and what happens to be his last play? Okay, maybe I'm sounding like a crazy person right now, but this is what happened when I entered Shakespeare's world again.

    My Top Ten Favorites:*
    1. The Tempest
    2. A Midsummer Night's Dream
    3. Othello
    4. Titus Andronicus
    5. Macbeth
    6. Twelfth Night
    7. As You Like It
    8. King Lear
    9. Cymbeline
    10. The Winter's Tale

    Final Thoughts:
    I plan on coming back to these plays and rereading them again. Going to reread Tempest to finish off my Shakespeare with a cherry on top, but I'm taking a long break afterwords. I enjoyed this a lot more without having to study these plays and writing an essay after every read. I could read them for fun instead. I did skip the a lot of the intros and footnotes and other material in this edition, but I might read those another time too. I've read every play, but I'm not sure it's possible for anyone to be completely done with Shakespeare. It's like he's Prospero and has magic powers...whoops, sounding like a crazy person again.

    *If you want to know why I like those plays, most of them I wrote reviews for, but none of them are as long as this review though.

  2. says:

    Greenblatt does a freaking amazing job of putting this together. The intros provide a fantastic historical perspective going into reading each play, especially for the histories. You'll know the families of the play and why they're beefing on each other before you go in. You'll know the real conversation Prince Hal and Bolingbroke had that formed the basis of Bolingbroke's death scene in 2 Henry IV. You'll know what Queen Elizabeth thought of Richard II ("I am Richard, know you not that?"), and you'll read Macbeth anew in the context of the failed Guy Fox terrorist attack. As an actor when you deliver the line "Two households both alike in dignity," you'll be grounded in real perspective. This is the perfect companion for the University student who wants to know his or her Shakespeare better, and for the actor who wants to know what the audience already knew when they first saw these plays performed.

    In terms of studying the texts, Norton is the way to go. Arden is better for performing the text though, because of its concise footnotes, proper ellisions, and adherence to the folios. If you're serious about Shakespeare, get both. Norton and Arden are the way(s) to go.

  3. says:

    This is your one stop shop for everything Shakespeare...awesome historical background information to add context to Shakespeare the man, his times, and the plays themselves. I had to buy this text to use for a few college Shakespeare classes, and I am now an English teacher myself. I break this out monthly and reread plays, read my annotations, and enjoy the myself thoroughly. If you suffered through Shakespeare in high school and some years have passed since then, you might want to pick up a play and see if it clicks for you this time through. In my opinion, Shakespeare is the best and most influential writer who ever lived.

  4. says:

    Interesting, concise without losing depth of study, a perfect study guide for drama and literature enthusiasts.

  5. says:

    I bought this when I was taking a course with Stephen Greenblatt in college -- a course in which we were studying four of Shakespeare's plays in depth. This thing was, I don't know, $90 or something; buying each of the plays individually would have come to about $20 total; Greenblatt had just come out with this the previous year and wanted to sell copies; we all wound up buying the $90 version and lugging all 20 pounds of it to class each week. And he was so charmingly straightforward about the fact that his motivation was entirely monetary that you sort of forgot to be pissed and just grinned back at him. He was a cool guy.

  6. says:

    Cymbeline (Shakespeare on the Common 2019)
    Pericles (Bread Loaf 2019 - Dennis Britton, Early Modern English Romance)
    The Winter's Tale (Bread Loaf 2019 - ---)

    Pericles on his sad horse and broken armor - a "young upstart".

    The ambiguity of touch - could a handshake mean more than just friendliness?

    And my back-and-forth dialogue/e-mail exchange with Daniel Belshaw on Cymbeline:

    Kenny Yim
    Sat, Mar 9, 1:41 PM

    to Daniel

    Dear Daniel,

    Here is where we will begin our discussion of Shakespeare's _Cymbeline_.

    I'm gravitating toward the elements of the play that remind me of earlier plays, since this is rather later in Shax's career.

    First of all, there's the gossipy culture - where the two gentlemen begin conversing, rather than any of the principal characters. That reminded me of _Hamlet_, which begins with the guards.

    Then, there's the parental disagreement with their children's choice of lovers - here, it's Innogen's (my Norton edition spells it the original way with two n's, you may have an edition that spells it with an m) love of Posthumous, which is frowned upon by Cymbeline. In _Midsummer Night_, the beginning is of the four lovers quarreling in front of the king and queen.

    Before that too, there is Postumous's backstory, which reminded me of Othello's description of his past, although I believe Posthumous's is more tragic.

    There is Cornelius the doctor, who provides a potion that is supposed to make the taker feign death. That seems similar to the ending of _Romeo and Juliet_, where Juliet takes the potion from Friar Lawrence, which Romeo was clueless about.

    There may be more subtle, or major similarities I'm missing. As I build on my education of Shakespeare, I notice he has a certain number of tricks in his bag, which he pulls out over and over, to the same magical effect. It's also his challenging language which makes him so worth reading again and again.

    What seems to set Cymbeline apart is the gamble that the international cast of characters and Posthumous make - whether they can get Innogen to cheat and turn him into a cuckold. That scene was very bawdy and very Shakespearean.



    Kenny Yim
    Tue, Mar 19, 8:31 PM

    to Daniel

    Hi Daniel,

    I'll let this slide, but you've somehow co-opted our Cymbeline e-mail
    chain, with the Baldwin quote.

    To return to Cymbeline, I finished watching the RSC production of the
    play (reminder that it's available through the BPL).

    I was just listening to eminent Shakespeare scholar Marjorie Garber
    expound on _The Winter's Tale_, and describe a similarity between it
    and _Cymbeline_ as both having "recognition scenes". When I was
    watching, I called what she calls recognition, confession. I might be
    splitting hairs, but what guides the play through the end stretch is
    the utterances of various characters. We hear them speak aloud the
    truths they've kept veiled.

    In Scene V, we get Iachimo's confession. In the long passage that
    begins "Your daughter's chastity-- there it begins," he eventually
    gets to these lines:

    "And, to be brief, my practise so prevail'd,
    That I return'd with simular proof enough
    To make the noble Leonatus mad,
    By wounding his belief in her renown
    With tokens thus, and thus; averting notes
    Of chamber-hanging, pictures, this her bracelet,--
    O cunning, how I got it!--nay, some marks
    Of secret on her person, that he could not
    But think her bond of chastity quite crack'd,
    I having ta'en the forfeit."

    In that wonderful line - "wounding his belief in her renown" - he lays
    bare the trickery he performed. He says outright that Posthumous's
    belief in Innogen's chastity was, to follow the same violent metaphor,
    punctured. He even exhibits some pride in his trickery, "o cunning,
    how I got it". Or perhaps the tone is more apologetic. He may be
    admitting to the personality quirk, if that doesn't minimize his
    behavior too much (everything, nevertheless turns out right in the
    end). He could be admonishing himself. Oh that darn cunning that I
    possess, it led me to do the act! Rather than blaming it on him, he's
    blaming it on a part of himself. Rather than bragging about it, he
    seems to take a very conciliatory tone here.

    This utterance releases a chain reaction of characters seeing more
    than they saw before, which is perhaps what recognition comes down to,
    at its core. While it assumes lack of prior knowledge turning on/into
    new information, it could also signal the fact that they are finally
    seeing what we all have known all along - what could be called
    dramatic irony. Did we talk about this device before? While I have my
    doubts about employing literary figures of speech in discussing
    literature, they can be useful in providing a common lens.

    I'd love to dig into one or two more passages, before we move on to
    Lawrence. Anything stood out to you?

    It's a wonderfully compact play, with all its loose ends seemingly
    tied up in a neat bow at the end.



  7. says:

    I’m not sure if the edition has been updated but this 2004 version has served me well. The annotations are same-page and there is concise analysis across a wide range of context, a highlight for me being the tapping-into of Shakespeare’s curiosity around rhetorically doubling in a certain way.
    The downside (for some, and me) would be the introductions to each play. These are all New Historical in a vein of modernity which has now aged. A firmer historical texture as well as some reflexivity on the approach itself would not go amiss. Maybe that is the case in newer editions, but the thousands of flimsy pages in this copy still hold well for me.

  8. says:

    It's Shakespeare. What more needs to be said?

  9. says:

    I have a very peculiar experience whenever I read Shakespeare after setting him aside for awhile: Shakespeare's English becomes hard for me to understand. However, if I start reading again and just proceed without apparent comprehension, everything eventually becomes clear. I love Hamlet for the philosophical issues raised ("Seems? Nay, it is. I know not 'seems'"), Henry V for the strength bestowed ("Proclaim it throughout this host that he that hath not courage to this fight, let him depart. His passport will be made ready and crowns for convey put in his purse. We would not die with such a man that fears his fellowship to die with us...And Crispin Crispian shall ne'er go by, from this day to the ending of the world, but we in it shall be remembered. We few, we happy few, we band of brothers. For he that sheds his blood with me, today, shall be my brother. Be he ne'er so vile, this day will gentle his condition...") and Twelfth Night for the delicate yet potent language of Viola("Halloo your name to the reverberate hills and let the echoing spirit of the air cry out 'Olivia!' Oh you should not rest between elements of earth and air but you should pity lady, you are the cruellest she alive if you will lead these graces to the grave and leave the world no copy"). I have always thought Viola as good as Romeo, poetically speaking. Ironically, she is probably about as masculine too lol!

  10. says:

    After research this seemed like the best edition to read, though at first I thought Folger may be easier. I got a Folger copy of Richard III and it was almost the exact translation as Norton, and I found the way Norton was put together to be easier to read than Folger, though the opposite was supposed to be true. My ultimate take away is that I enjoy Shakespeare’s stories, but they take some work to read - certainly not easy reading, though not difficult, just slow. I enjoyed the stories I read - Richard III, A Midsummer Night’s Dream, Hamlet, King Lear, and sonnets 3, 16, 18, 19, 20, 21, 29, 30, 36, 40, 60, 98, 116, 129, 130, & 152. Overall 4 stars.

    Richard III - a history. Least good of the four I read, though enjoyable enough, if not particularly memorable.

    A Midsummer Night’s Dream - a comedy. Somewhat humorous, enjoyable read, good story.

    Hamlet, King Lear - tragedy. Tied for best of what I read. Along with Midsummer Night’s Dream, these plays all had endings that left you wanting a more conclusive end to events, or perhaps a cheerier end. As far as the tragedies, I guess the point is they leave you let down somewhat. I can imagine that seeing all of these as plays would be more fulfilling than just reading them.

    Sonnets - some were nicely written and noteworthy. Apparently some were written for his man lover, which is interesting.

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