Antony and Cleopatra (Arden Shakespeare: Third Series)

Antony and Cleopatra (Arden Shakespeare: Third Series)

William Shakespeare

Language: English

Pages: 352

ISBN: 1904271014

Format: PDF / Kindle (mobi) / ePub


John Wilders - literary advisor to the BBC TV Shakespeare series - brings thorough scholarship and a practical understanding of performance needs to this new edition. Clarity, accessibility and rigour are the hallmarks of an edition which will provide invaluable guidance for all its readers. "This edition has a very helpful introduction and good clear text, as well as the exceptionally excellent and detailed notes." Dr Michael Herbert, St Andrews University 'Â…a useful treatment of a complex play' Barry Gaines, University of New Mexico, Shakespeare Quarterly

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by th’minute22, lost his favour. Who does i’th’wars more than his captain can, Becomes his captain’s captain, and ambition — The soldier’s virtue — rather makes choice of25 loss, Than gain which darkens26 him. I could do more to do Antonius good, But ’twould offend him, and in his offence28 Should my performance29 perish. SILIUS Thou hast, Ventidius, that Without the which a soldier and his sword Grants scarce distinction30. Thou wilt write to Antony? VENTIDIUS I’ll humbly signify what

dancer37 while I struck The lean and wrinkled Cassius, and ’twas I That the mad39 Brutus ended: he alone Dealt on lieutenantry40, and no practice had In the brave squares41 of war: yet now, no matter. CLEOPATRA Ah, stand by42. EROS The queen, my lord, the queen! IRAS Go to him, madam, speak to him: He’s unqualitied45 with very shame. CLEOPATRA Well then, sustain46 me. O! EROS Most noble sir, arise, the queen approaches. Her head’s declined48, and death will seize her, but Your

audience as well as Demetrius, establishing the recurrent presence of self-conscious theatricality in the play, through the dual audience and the element of “performance” that seems an essential part of Cleopatra’s character. Lines 14–68: As Cleopatra encourages Antony to say “how much” he loves her, a messenger arrives from Rome. Antony is uninterested, but Cleopatra mockingly suggests that it might be from his wife, “shrill-tongued Fulvia,” or from “scarce-bearded Caesar,” and that he should

especially Mars and Venus Bound by Cupid: “This provided an apt visual equivalent to the play, both in its style and in its subject matter: a Renaissance view of a classical love affair. It created an ideal context for Peter Hall’s confidently paced, unostentatious reading of the play and for Judi Dench’s superb Cleopatra.”40 The pictorial style of the Italian Renaissance also avoided “the now embarrassing theatricality of blacking up…and, more pertinently in 1987, the decision as to whether to

gallants from the audience who fancied making themselves part of the spectacle sat on stools on the edge of the stage itself. Scholars debate as to how widespread this practice was in the public theaters such as the Globe. Once the audience were in place and the money counted, the gatherers were available to be extras onstage. That is one reason why battles and crowd scenes often come later rather than early in Shakespeare’s plays. There was no formal prohibition upon performance by women, and

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