Shakespeare S Words

A vital resource for scholars, students and actors, this book contains glosses and quotes for over 14,000 words that could be misunderstood by or are unknown to a modern audience. Displayed panels look at such areas of Shakespeare's language as greetings, swear-words and terms of address. Plot summaries are included for all Shakespeare's plays and on the facing page is a unique diagramatic representation of the relationships within each play.

Do you ever find yourself reading Shakespeare and are completely lost because of words like Obeisance and Quiddity? This dictionary contains over 4500 Shakespearean words and their definition.

As England is in the middle of a civil war, King Henry IV becomes gravely ill. While the king’s enemies attempt to overthrow him, his son and heir Hal continues to raise hell in local taverns with his lowlife friends. With a looming rebellion Hal must get his life in order. Knowing that he will be responsible for taking the reins once his father dies Hal vows to change. With his bad reputation, legal troubles, questionable companions and his father’s low option to overcome, Hal must suppress the uprising. "Henry IV, Part 2" is the third historical play (the others being Richard II, Henry IV, Part 1, and Henry V) known collectively as the "second tetralogy."These plays focus on major events of English history in the late 14th and early 15th centuries. William Shakespeare (1564-1616) was an English playwright, poet and actor. Considered the greatest dramatist of all time, he is widely regarded as the most influential English language writer. Shakespeare’s plays focus on the range of human emotion and conflict, and have been translated into more than 100 languages. Many including "Hamlet" "Macbeth" and "Romeo and Juliet" have been adapted for stage and screen.

A dictionary of terms that were first coined in William Shakespeare's plays. Each entry explains the source of the word, how the word is used throughout history, and where each word appears in Shakespeare's works.

The authors of this book ask how digital research tools are changing the ways in which practicing editors historicize Shakespeare's language. Scholars now encounter, interpret, and disseminate Shakespeare's language through an increasing variety of digital resources, including online editions such as the Internet Shakespeare Editions (ISE), searchable lexical corpora such as the Early English Books Online-Text Creation Partnership (EEBO-TCP) or the Lexicons of Early Modern English (LEME) collections, high-quality digital facsimiles such as the Folger Shakespeare Library's Digital Image Collection, text visualization tools such as Voyant, apps for reading and editing on mobile devices, and more. What new insights do these tools offer about the ways Shakespeare's words made meaning in their own time? What kinds of historical or historicizing arguments can digital editions make about Shakespeare's language? A growing body of work in the digital humanities allows textual critics to explore new approaches to editing in digital environments, and enables language historians to ask and answer new questions about Shakespeare's words. The authors in this unique book explicitly bring together the two fields of textual criticism and language history in an exploration of the ways in which new tools are expanding our understanding of Early Modern English.

Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink