This book gives close attention to the poetry and plotting of six Shakespeare plays, three tragedies (Coriolanus, Richard III, and King Lear) and three comedies (Midsummer Night's Dream, Twelfth Night, The Merchant of Venice), paying particular attention to biblical imagery and theological themes of the plays.

This book gives close attention to the poetry and plotting of six Shakespeare plays, three tragedies (Coriolanus, Richard III, and King Lear) and three comedies (Midsummer Night’s Dream, Twelfth Night, The Merchant of Venice), paying particular attention to biblical imagery and theological themes of the plays.

This lively, lucid book undertakes a detailed and provocative study of Shakespeare's fascination with clowns, fools, and fooling. Through close reading of plays over the whole course of Shakespeare's theatrical career, Bell highlights the fun, wit, insights, and mysteries of some of Shakespeare's most vibrant and often vexing figures.

With few exceptions, commentaries on the four plays of William Wycherley are surface in nature and do not offer a unified vision for the dramatic canon produced by the greatest of Restoration comic playwrights. Traditionally the plays have been defined as comedies of manners or of wit, with either approach vastly limiting our understanding of the plays' depth and complexity... There is, however, a much deeper concern which lies at the heart of Wycherley's drama and gives unity to the four comedies, and it is this overriding theme that Professor Marshall explores to demonstrate Wycherley's transcendence of recognized Restoration theatrical devices and concern with theatricality itself: not with the mere social pretense... but with the ancient topos of theatrum mundi.. In short, marshall declares Wycherley's plays metatheatre, and herein lies their true substance and meaning, as well as tehir most innovative contributions to the development of English comedy (from the Introduction).

Nominated for the Carnegie Medal 2011 Shakespeare in Love meets Twelfth Night - A gripping and evocative historical novel by bestselling Celia Rees

From one of the greatest Shakespeare scholars of our time, a beloved professor who has taught the Bard for over half a century—an intimate, wise, deeply compelling portrait of Lear, arguably Shakespeare’s most tragic and compelling character, the third in a series of five short books hailed as Harold Bloom’s “last love letter to the shaping spirit of his imagination” (The New York Times Book Review). King Lear is one of the most famous and compelling characters in literature. The aged, abused monarch—a man in his eighties, like Bloom himself—is at once the consummate figure of authority and the classic example of the fall from grace and widely agreed to be Shakespeare’s most moving, tragic hero. Award-winning writer and beloved professor Harold Bloom writes about Lear with wisdom, joy, exuberance, and compassion. He also explores his own personal relationship to the character: Just as we encounter one Anna Karenina or Jay Gatsby when we are seventeen and another when we are forty, Bloom writes about his shifting understanding—over the course of his own lifetime—of this endlessly compelling figure, so that the book also becomes an extraordinarily moving argument for literature as a path to and a measure of our humanity. Bloom is mesmerizing in the classroom, wrestling with the often tragic choices Shakespeare’s characters make. Now he brings that insight to his “measured, thoughtful assessment of a key play in the Shakespeare canon” (Kirkus Reviews). “Lear is a “short, superb book that has a depth of observation acquired from a lifetime of study” (Publishers Weekly).

Venice, a long time ago. Three prominent Venetians await their most loathsome and foul dinner guest, the erstwhile envoy from the Queen of Britain: the rascal-Fool Pocket. This trio of cunning plotters—the merchant, Antonio; the senator, Montressor Brabantio; and the naval officer, Iago—have lured Pocket to a dark dungeon, promising an evening of sprits and debauchery with a rare Amontillado sherry and Brabantio's beautiful daughter, Portia. But their invitation is, of course, bogus. The wine is drugged. The girl isn't even in the city limits. Desperate to rid themselves once and for all of the man who has consistently foiled their grand quest for power and wealth, they have lured him to his death. (How can such a small man, be such a huge obstacle?). But this Fool is no fool . . . and he's got more than a few tricks (and hand gestures) up his sleeve. Greed, revenge, deception, lust, and a giant (but lovable) sea monster combine to create another hilarious and bawdy tale from modern comic genius, Christopher Moore.

This second edition of King Lear features a new introductory section by Jay L. Halio.