This book advances five original readings of Shakespeare's King Lear, influenced by Giorgio Agamben, but tempered by primary research into Jacobean literature, law, religion, and philosophy. To grasp Lear’s encounter between politics and identity, the play demands a wider understanding of the religious influence on political thought. As Lear himself realises, sovereignty is an extreme, glamorous example of a deeper category: sacred office. Lear also shows duty intersecting with a hierarchy of bastards, outlaws, women, waifs, and monks. This book introduces concepts like petit treason, civil death, and waivery into political theological studies, complicating Agamben’s models. Goneril’s treason shows the sovereign’s consort and children are consecrated lives too. Lear’s crisis of "self-knowing" stages a landmark critique of office. The promise of his poignant speech before the prison is foreclosed by Shakespeare's invention: an officer dutifully murdering Cordelia. This book’s conclusion, through Hannah Arendt, reconsiders Lear’s persistent association with the Holocaust.

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

Among the most enduring poetry of all time, William Shakespeare’s 154 sonnets address such eternal themes as love, beauty, honesty, and the passage of time. Written primarily in four-line stanzas and iambic pentameter, Shakespeare’s sonnets are now recognized as marking the beginning of modern love poetry. The sonnets have been translated into all major written languages and are frequently used at romantic celebrations. Known as “The Bard of Avon,” William Shakespeare is arguably the greatest English-language writer known. Enormously popular during his life, Shakespeare’s works continue to resonate more than three centuries after his death, as has his influence on theatre and literature. Shakespeare’s innovative use of character, language, and experimentation with romance as tragedy served as a foundation for later playwrights and dramatists, and some of his most famous lines of dialogue have become part of everyday speech. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.

Taking the classical view that the political shapes man's consciousness, Allan Bloom considers Shakespeare as a profoundly political Renaissance dramatist. He aims to recover Shakespeare's ideas and beliefs and to make his work once again a recognized source for the serious study of moral and political problems. In essays looking at Julius Caesar, Othello, and The Merchant of Venice, Bloom shows how Shakespeare presents a picture of man that does not assume privileged access for only literary criticism. With this claim, he argues that political philosophy offers a comprehensive framework within which the problems of the Shakespearean heroes can be viewed. In short, he argues that Shakespeare was an eminently political author. Also included is an essay by Harry V. Jaffa on the limits of politics in King Lear. "A very good book indeed . . . one which can be recommended to all who are interested in Shakespeare." —G. P. V. Akrigg "This series of essays reminded me of the scope and depth of Shakespeare's original vision. One is left with the impression that Shakespeare really had figured out the answers to some important questions many of us no longer even know to ask."-Peter A. Thiel, CEO, PayPal, Wall Street Journal Allan Bloom was the John U. Nef Distinguished Service Professor on the Committee on Social Thought and the co-director of the John M. Olin Center for Inquiry into the Theory and Practice of Democracy at the University of Chicago. Harry V. Jaffa is professor emeritus at Claremont McKenna College and Claremont Graduate School.

This engaging book provides in-depth discussion of the various influences that an audience in 1606 would have brought to interpreting ‘King Lear’. How did people think about the world, about God, about sin, about kings, about civilized conduct? Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world in free fall.

Featuring the images of some of the world's most famous stage and film actors, these additions to the all-new Oxford School Shakespeare introduce--and enthrall--young people to one of the greatest writers of all time. This season brings revised editions of five of the Bard's most famous plays--As You Like It, Othello, Hamlet, Love's Labour Lost and The Taming of the Shrew. Designed specifically for students unfamiliar with Shakespeare's rich literary legacy, these new editions present Shakespeare's sometimes-intimidating Middle English in a way that is easy-to-read and engaging for ages twelve and up. The notes and introductions have been completely revised, allowing unprecedented clarity and accessibility. Featuring new covers and new illustrations--including photos from recent productions of Shakespeare's plays from around the world--Oxford School Shakespeare brings all the pleasure of these literary treasures to life.

Because Julius Caesar has been required reading in most high schools, it may be the Shakespeare play most familiar to students. However, as one reader protested, it cant be much of a play when the hero dies early in the third act. However, many of us have been instructed that Julius Caesar is not the protagonist; Brutus is. This is apparently made clear by Mark Antonys comment over Brutus body in Act V: This was the noblest Roman of them all. On a closer reading, however, it seems that Brutus is certainly not the noblest. A comparison between Julius Caesar and Brutus reveals many similar traits: both are ambitious, both are quite pompous, and both speak of themselves in the third person. Actually, neither one of them is a model Roman. Perhaps Mark Antony comes closest to being the actual protagonist. One could even advance the argument that Cassius acts most honorably of the plotters; he is certainly the most level-headed; yet Brutus has his way and contravenes Cassius advice repeatedly, always to ill effect. Perhaps none of these men is the true protagonist; maybe there isnt one.

Shakespeare’s King Lear is often called his mightiest play. This comprehensive edition by S. Nagarajan (who edited the evergreen Signet edition of Measure for Measure) presents a lifetime of scholarship on Shakespeare and fifteen years of research specifically on Lear. Accessibly written, this edition serves the reader who has access to well-stocked libraries and lively theatres, as well as the student whose resources are more limited. The play-text is a conflation of the Quarto text and the First Folio text, and the notes provide a generous but discreet selection of alternative readings of lines and contexts. In ten erudite essays, Nagarajan provides a thoroughly researched picture of Shakespeare’s sources for the play, his unique use of language, Elizabethan theatre, history and values of the play, analysis of enigmatic scenes, glimpses into its performance history and other subjects, with special attention to Indian dramatic art theory. This edition is the first to bring together both the best scholarship on Lear to date and perspectives from Indian poetics and philosophy. The result is a text that robustly includes, but goes beyond, Anglophone cultures and Euro-American experiences, making it truly representative of Lear’s global stage.

The image of the prism, with its multiple refractions, offers some sense of the inexhaustible variety of a work of art. Like a prism, King Lear is attractive; like a prism, it is a multiply shaped thing; like a prism, it is an object of admiration, as well as an instrument of analysis. The essays in this book – forming neither a casebook nor a 'perplex' – were written because their authors wanted to understand something specific about this very complicated play. Throughout, the emphasis is on Shakespeare's consciousness of his craft, on his critical use of the materials, notions, and devices available to him – on the play (prism-like) as an instrument of analysis. Although the different contributors have occasionally influenced one another's readings of the play, the essays were written independently; that they are so mutually supportive is the result of the play's central insistence on its own primary meaning, visible from whatever perspective a serious reader may take.