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Honigmann's cogent and closely argued introduction outlines the reasons both for a reluctance to recognize the greatness of Othello and for the case against the play.This edition sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history. Honigmann examines the major critical issues, the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources and the conundrum of 'double time'.'Honigmann's extensive knowledge illuminates this play at every turn, making this the best edition of Othello now available.' Brian Vickers, Review of English Studies","brand":"WoB","offers":[{"title":"GB \/ GOOD \/ INTERNAL","offer_id":49505154367761,"sku":"GOR001222264","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49506564931857,"sku":"GOR001250817","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ WELL_READ \/ INTERNAL","offer_id":49550022181137,"sku":"GOR001313156","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":49772639846673,"sku":"GOR008822283","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ WELL_READ \/ SBYB","offer_id":50126165082385,"sku":"CIN1903436451A","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":50440665989393,"sku":"CIN1903436451VG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":52107699519761,"sku":"CIN1903436451G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1903436451.jpg?v=1750900289"},{"product_id":"much-ado-about-nothing-book-william-shakespeare-9781903436837","title":"\"Much Ado About Nothing\"","description":"Much Ado About Nothing of the Ratna Sagar Shakespeare Series is enriched with complete text of the original play, plenty of short notes that explain and interpret the text, summary of each scene, as well as useful commentary on the life and times of Shakespeare, Elizabethan theatre, sources and genre, characters, plot, themes, and motifs, literary devices and figures of speech. A comedy of errors, the title of the play is justified by the utter confusion in the plot that arises out of nothing. Replete with sparkling dialogues, the play has also been described as a comedy of wit. This edition of Much Ado About Nothing is enriched with exhaustive annotations and notes.This enriched edition of Much Ado About Nothing has exhaustive annotations and notes. As suggested by its title, the play is a comedy of errors in which a lot of fuss and confusion is created over nothing. The title also plays on the word 'nothing', pronounced as 'noting' in Elizabethan English. 'Noting' refers to the manner in which people note or eavesdrop, and pass on information. The action over the course of the play largely arises because of noting and deceit, as the characters are directly or indirectly affected by eavesdropping and gossip. Claudio and Hero's relationship suffers due to the malicious misinformation of Don John and Borachio. On the other hand, Benedick and Beatrice's relationship develops as a result of the well-intended deceit and gossip of Don Pedro, Claudio, Leonato, Hero, and Ursula. Set in Messina, Italy, the action of the play mostly takes place in and around the house of Leonato, the Governor of Messina, who lives with his daughter, Hero, and his witty niece, Beatrice. The play commences with Don Pedro, the Prince of Arragon, and his followers Benedick and Claudio visiting Leonato with the prince's illegitimate brother Don John, who had rebelled against him but is now reconciled. It is revealed that Claudio loves Hero and wishes to propose to her. While the Claudio-Hero relationship forms the main plot of the play, the sub-plot is provided by the love-hate relationship between Benedick and Beatrice, whose interactions oscillate between fondness and witty sarcasm from the very beginning. In the initial part of the play, there is a masked dance in which Don Pedro pretends to be Claudio, woos Hero on his behalf, and asks Leonato for Hero's hand in marriage to Claudio. As all is settled for the prospective marriage of Claudio and Hero within a week, the bitter and sullen Don John concocts a plan with his underling Borachio to spoil the happiness of Claudio, the 'young start-up' who 'hath all the glory of my overthrow'. As a game of deceit and manipulation begins, Don John and Borachio execute their plan to lead Claudio into believing Hero's infidelity. An enraged Claudio shames and rejects Hero in front of the wedding congregation the next day. Leonato is devastated, and Hero faints, at which Claudio and Don Pedro leave her for dead. Friar Francis believes in Hero's innocence, and devises the plan to publish the report of her death so as to convert the slander against her into pity, and make Claudio realize her worth and repent for disgracing her. Meanwhile, the scene shifts to the members of the Watch, with the head constable Dogberry, his partner Verges, and two watchmen. Although they are the comedians of the play, these farcical detectives are the ones who finally uncover the truth of Don John's villainy. Once Don John's plot is revealed, Don Pedro and Claudio repent for their action and apologize to Leonato, who asks Claudio to hang an epitaph on Hero's 'tomb', and then marry his 'niece', who is 'the copy of my child that's dead', as penance. Claudio agrees, and on the day of the wedding the lady is revealed to be none other than Hero herself. With the resolution of the Claudio-Hero relationship, Benedick and Beatrice too confess their love for each other, but not without the customary bout of wit. A messenger arrives to inform all that Don John has been captured while trying to flee. 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In this powerful and ground-breaking edition, Bate offers a complete and radical reappraisal of Shakespeare's bloodiest tragedy, seeing it as one of the dramatist's most inventive plays, a complex and self-conscious improvisation upon classical sources. Bate's introduction does full justice to the play's artfulness and sophistication, puts forward new arguments regarding the play's date, sources and early stage history, and devotes extended discussion to great modern productions such as those of Peter Brook and Deborah Warner.In an age in which dramatic representation of violence has become an issue of enormous controversy, Titus Andronicus is the essential play; Bate's seminal edition indicates just how far, with this early work, the young Shakespeare has already travelled towards the masterpiece of his maturity, King Lear.'a great edition of a great play'Julie Taymor, Director TITUS, 20th Century Fox, 1999Bate makes a really positive virtue of his treatment of the play in performance.putting a vigorous account of Titus on stage at very stage-centre in his Introduction. Using this section as a means for raising fundamental questions as to the play's style, coherence, and meaning, Bate achieves a remarkable fusion between performance history and criticism. John Jowett, Shakespeare Survey'impressive and exciting'Barry Gaines, University of New Mexico, Shakespeare Quarterly'This is an outstanding edition of Titus, especially for its treatment of textual questions and of recent performance history. 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As Virginia and Alden Vaughan show, in their wide-ranging new edition of this established favourite, such antithetical extremes exemplify the play's endlessly arguable nature, its appeal to diverse eras and cultures.The Vaughans situate The Tempest at the centre of changing cultural attitudes towards colonialism, power politics and patriarchal hierarchies, and demonstrate how the play both shaped and reflected those changing attitudes. Informed by the concerns of a post-colonial international community, their edition emphasizes the play's world-wide cultural appropriation, and includes an extensive discussion of the play's after-life as well as an appendix of selected appropriations. The interdisciplinary editorial approach contributes a distinctively blended cultural and historical focus.'The Vaughans have provided a valuable new edition of the play, one whose expanded contextualisation, especially, will contribute to The Tempest's lively and varied afterlife both within and beyond the classroom.' 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Largely ignored for centuries because of doubts about its authorship and its subject matter, once considered distasteful, it is surprisingly relevant to many current interests. Lois Potter's valuable edition gives a full exposition of contemporary claims as to authorship and genre, discussing all the elements of collaborative writing ' not only the two authors themselves but their historical, theatrical and literary contexts. She argues that, complex as the collaboration process was, the end product can be discussed as a coherent work because of and not despite the circumstances of its production. 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In this powerful and ground-breaking edition, Bate offers a complete and radical reappraisal of Shakespeare's bloodiest tragedy, seeing it as one of the dramatist's most inventive plays, a complex and self-conscious improvisation upon classical sources. Bate's introduction does full justice to the play's artfulness and sophistication, puts forward new arguments regarding the play's date, sources and early stage history, and devotes extended discussion to great modern productions such as those of Peter Brook and Deborah Warner.In an age in which dramatic representation of violence has become an issue of enormous controversy, Titus Andronicus is the essential play; Bate's seminal edition indicates just how far, with this early work, the young Shakespeare has already travelled towards the masterpiece of his maturity, King Lear.'a great edition of a great play'Julie Taymor, Director TITUS, 20th Century Fox, 1999Bate makes a really positive virtue of his treatment of the play in performance.putting a vigorous account of Titus on stage at very stage-centre in his Introduction. Using this section as a means for raising fundamental questions as to the play's style, coherence, and meaning, Bate achieves a remarkable fusion between performance history and criticism. John Jowett, Shakespeare Survey'impressive and exciting'Barry Gaines, University of New Mexico, Shakespeare Quarterly'This is an outstanding edition of Titus, especially for its treatment of textual questions and of recent performance history. 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The third of the mature tragedies, it contains, as Honigmann persuasively demonstrates, perhaps the best plot, two of Shakespeare's most original characters, the most powerful scene in any of the plays and poetry second to none. Honigmann's cogent and closely argued introduction outlines the reasons both for a reluctance to recognize the greatness of Othello and for the case against the play.This edition sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history. Honigmann examines the major critical issues, the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources and the conundrum of 'double time'.'Honigmann's extensive knowledge illuminates this play at every turn, making this the best edition of Othello now available.' 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