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In Richard III, Shakespeare invites us on a moral holiday. The play draws us to identify with Richard and his fantasy of total control of self and domination of others. Not yet king at the start of the play, Richard presents himself as an enterprising villain as he successfully plans to dispose of his brother Clarence. Richard achieves similar success in conquering the woman he chooses to marry. He carves a way to the throne through assassination and executions.
The authoritative edition of Richard III from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes:
-Freshly edited text based on the best early printed version of the play
-Newly revised explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the play’s famous lines and phrases
-An introduction to reading Shakespeare’s language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library’s vast holdings of rare books
-An up-to-date annotated guide to further reading
Essay by Phyllis Rackin
The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
- Sales Rank: #11542 in Books
- Brand: Simon & Schuster
- Model: 1668444
- Published on: 2004-07-01
- Released on: 2004-07-01
- Original language: English
- Number of items: 1
- Dimensions: 6.75" h x .90" w x 4.13" l, .42 pounds
- Binding: Mass Market Paperback
- 369 pages
- Great product!
About the Author
William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.
Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.
Paul Werstine is Professor of English at the Graduate School and at King’s University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare’s plays.
Most helpful customer reviews
12 of 13 people found the following review helpful.
THE FIRST RESOURCE TO TURN TO ALWAYS FOR ENGLISH LITERATURE IS NORTON CRITICAL EDITIONS, AND THIS FOR RICHARD III
By Love Thy Enemy
Norton Critical Editions has long been the first resource to tap for English language Literature. For interpretation cum primary sources we might prefer the recent The Oxford Shakespeare: The Tragedy of King Richard III (Oxford World's Classics: the Oxford Shakespeare), referenced here in the Norton, in fact, and we might also find further along the shelf the King Richard III (Arden Shakespeare: Second Series), but we always know the Norton will be quite comprehensive and the highest quality of the academic as opposed to the polemic.
And in this very recent release from Norton we find no variation from this reputation. The primary sources in themselves are worthwhile to have between one cover in order to avoid disturbing your academic librarian while clodding across the oak floors.
From the section here on primary sources and analogues we discover of course an extensive excerpt (over thirty large pages) from Saint Thomas More's The History Of King Richard The Third, with the interesting story of how More came to record this gruesome history. From More we receive the deformed figure of Richard as well.
Let us note in passing that the cover of this edition does not bear the usual painting from the past we have come to expect, but a photo of Al Pacino in full regalia from his Looking for Richard, and we realize, as with Richard III, these actors are far too old. Such a one could never seduce the fair queen over the very corpse of her husband! Even Olivier in Richard III with Laurence Olivier (Import Edition) may be a bit too far gone, and stiff. Nevertheless the Pacino of Dog Day Afternoon just might have worked!
Forgive that digression, please. Under sources of course we also find Fabyan's New Chronicles of 1516, and Edward Hall's 1548 Union, as well of course as more direct source material for Mr. Shakespeare such as the Mirror for Magistrates from 1559 and the True Tragedie of 1594
The 1700 adaptation by Cibber which misrepresented the play for hundreds of years is also presented for comparison's sake. The history of stage critics take on various actor's presentation of King Richard follows, including George Bernard Shaw on Henry Irving's Richard. Several other articles in this section examine the history of interpreting Richard III fomr the earliest stagings through the latest film, including Olivier and Ian MacLellan.
The history of criticism of the play in itself is also presented, beginning with William Richardson and Edward Dowden through Wilbur Sanders. E. Pearlman discusses the Invention of Richard of Gloucester and Linda Charnes adds an excerpt from her Belaboring the Obvious: Reading the Monstrous Body of King Richard III. Katherine Maus handles Myself Alone: Richard III as Stage Machiavel; Ian Moulton, drawing from 'A Monster Great Deformed' discusses the Unruly Masculinity of Richard III, while Harry Berger, Jr. writes a piece original to this edition entitled Conscience and Complicity in Richard III.
As you can see this is a very comprehensive book, closing with a four page bibliography in print as tiny as legal notices in the newspaper. The text of the play itself takes about 105 pages, with textual variants held for the end. Each page of the play includes a few explanations of unfamiliar terms, etc.
The seven page preface by the editor Thomas Cartelli traces the sources of the text, the history through several editors since Shakespeare, and places it within the context of the other Historical plays of Henries and the War of the Roses.
Cartelli alters past practice in choosing to rely upon the first Quarto version, and explains well this decision, with occasional reference to the first (and only) Folio when the Quarto's terms are unclear, misprinted or omitted. Richard III was so popular a play in the time of Shakespeare that its Quarto editions run through eight versions altogether. Cartelli returns with good reason herein expressed to the original Quarto version.
Thus you may discover here everything you wish to know about this disturbing play which has given us lines as famous as anything from Shakespeare's Sonnets (Arden Shakespeare: Third Series) or even Hamlet (Norton Critical Editions), in a format designed for the immediate playing of it without further adaptation (an event which could and has run well over four hours!).
For further ideas from recent staging please see the well-illustrated and examined Richard III (Arden Shakespeare: Shakespeare at Stratford Series) which carries photographs and explanations of the history of staging Richard in Stratford up to our time.
This is a play we need to see again now as we strive to recover from decades of Machiavellian politics and a long War of the Red and Blue Roses, as we come together as one people and one nation.
0 of 0 people found the following review helpful.
A tale of power won and lost.
By Dylan Bray
Let not our babbling dreams affright our souls; Conscience is but a word that cowards use, Devis'd at first to keep the strong in awe: Our strong arms be our conscience, swords our law
0 of 0 people found the following review helpful.
I enjoy Shakespeare but have not previously read Richard III
By Amazon Customer
None of the above is really applicable to a play about historic events. I enjoy Shakespeare but have not previously read Richard III. I don't think it's close to his best.
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