Excerpt from Shakespeare's Home and Rural Life Reader, believing as we do, that all the volumes yet written on Shakespeare do not furnish as much true, and therefore sound criticism, as these few words of Ruskin, we ask you to wander with us in the fields of his native Warwickshire, and linger about the spots hallowed as his familiar haunts and home, and there find the best guide to, and interpreter of, his mighty writings. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In the wide realm of Shakespeare worship, the house in Stratford-upon-Avon where William Shakespeare was born in 1564 – known colloquially as the 'Birthplace' – remains the chief shrine. It's not as romantic as Anne Hathaway's thatched cottage, it's not where he wrote any of his plays, and there's nothing inside the house that once belonged to Shakespeare himself. So why, for centuries, have people kept turning up on the doorstep? Richard Schoch answers that question by examining the history of the Birthplace and by exploring how its changing fortunes over four centuries perfectly mirror the changing attitudes toward Shakespeare himself. Based on original research in the archives of the Shakespeare Birthplace Trust in Stratford-upon-Avon and the Folger Shakespeare Library in Washington, DC, and featuring two black and white illustrated plate sections which draw on the wide array of material available at the Folger Shakespeare Library and the Victoria and Albert Museum, this book traces the history of Shakespeare's birthplace over four centuries. Beginning in the 1560s, when Shakespeare was born there, it ends in the 1890s, when the house was rescued from private purchase and turned into the Shakespeare monument that it remains today.

"Wise old Vergil says in one of his Georgics, 'Praise large farms, stick to small ones,'" Robert Frost said. "Twenty acres are just about enough." Frost started out as a school teacher living the rural life of a would-be farmer, and later turned to farming full time when he bought a place of his own. After a sojourn in England where his first two books were published to critical acclaim, he returned to New England, acquired a new farm and became a rustic for much of the rest of his life. Frost claimed that all of his poetry was farm poetry. His deep admiration for Virgil's Georgics, or poems of rural life, inspired the creation of his own New England "georgics," his answer to the haughty 20th-century modernism that seemed certain to define the future of Western poetry. Like the "West-Running Brook" in his poem of the same name, Frost's poetry can be seen as an embodiment of contrariness.

Well-known scenes from "Hamlet," "King Lear," "Macbeth," "Romeo and Juliet," "Julius Caesar," and 15 other popular plays. Summaries, selections from the appropriate text, and captions accompany the illustrations. 30 black-and-white illustrations.

Why are certain words used as insults in Shakespeare's world and what do these words do and say? Shakespeare's plays abound with insults which are more often merely cited than thoroughly studied, quotation prevailing over exploration. The purpose of this richly detailed dictionary is to go beyond the surface of these words and to analyse why and how words become insults in Shakespeare's world. It's an invaluable resource and reference guide for anyone grappling with the complexities and rewards of Shakespeare's inventive use of language in the realm of insult and verbal sparring.

Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER III My crown is in my heart, not on my head; Not deck'd with diamonds and Indian stones, Nor to be seen; my crown is call'd Content. Henry VI. Spirits are not finely touch'd But to fine issues. Measure For Measure. WHEN Master William Shakespeare went up to London to seek his fortune he left his wife and their little ones in his father's home in Henley Street. At that time his father and mother, with three of their children ? Joan, a merry-eyed lass of sixteen, Richard, and Edmund?the latter a small lad of five years?were living in the old house. Gilbert, the son next in age to William, was away in Snitterfield, at his Uncle Henry's farm, whither Richard followed him a couple of years later. There was a warm welcome ready for the little family from those good, true hearts, and the passing years only made the ties of affection stronger. It was very pleasant for the elder Mistress Shakespeare to have the continual companionship of herdaughter-in-law, Anne. There was something so lovable about the creature that none could resist her. She had a way of slipping into a body's heart willy-nilly, and taking up her home there. Her low voice and gay laughter were goodly sounds to hear, while her fondness for her children was the touchingest thing in the world. The two women, though they were each a trifle jealous of the other, as is often the case with very worthy women, were drawn closely together by their love for the little ones. Master John Shakespeare, worried and worn with the sad stress into which his affairs had fallen, had lost much of the jovial cheer which had been so marked a characteristic of his in earlier life. He had grown silent, too?he who had always been so ready with his lively sallies ?and the wish to keep from his fellows was one that...

Local/ Global Shakespeare and Advertising examines the local/ global and rhizomatic phenomenon of Shakespeare as advertised and Shakespeare as advertising. Starting from the importance and the awareness of advertising practices in the early modern period, the volume follows the evolution of the use of Shakespeare as a promotional catalyst up to the twenty-first century. The volume considers the pervasiveness of Shakespeare’s marketability in Anglophone and non-Anglophone cultures and its special engagement with creative and commercial industries. With its inter-and transdisciplinary perspective and its international scope, this book brings new insights into Shakespeare’s selling power, Shakespeare as the object of advertising and Shakespeare as part of the advertising vehicle, in relation to a range of crucial cultural, ideological and political issues.

The Tempest: A Comedy is a one of the many famous plays written by the well known English playwright, William Shakespeare. A poet, playwright, and actor, Shakespeare is widely considered to be one of, if not the greatest writer in the English language. Frequently referred to as England's national poet, Shakespeare crafted thirty eight plays, two long narrative poems, and one hundred and fifty four sonnets in his lifetime. All of his plays, including The Tempest, have been translated into every major language and are consistently performed more often than plays by any other writer in the history of literature. In this play, Shakespeare examines magical elements not often seen in his other works as he crafts a world and characters that manipulate one another via magical means. The play centers around a father and daughter on an island and the father's attempt to ensnare the King Alonso of Naples into a political upheaval and a marriage between their children. While considered a comedy, this play draws heavily on romantic writings and is influenced by the tradition of tragicomedies. Through its use of illusion, manipulation, and the words of characters, this play has consistent reminders that it is just a play, or rather just another illusion of life. This tactic is one of the reasons that this play stands out to those familiar with Shakespeare's work as an interesting interpretation of play writing and the purpose of plays in the theater. The Tempest: A Comedy is a wonderfully executed play by the incomparable playwright, William Shakespeare. This is a wonderful read for individuals interested in Shakespeare and his work along with individuals with a distinct interest in English plays and theater. This book is bound to be exciting for students of drama, teachers of drama and literature, and playwrights wanting to learn from the best playwright known to man. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

e-artnow presents to you this meticulously edited and formatted collection of the greatest world classics: Les Misérables (Victor Hugo) The Call of the Wild (Jack London) Walden (Henry David Thoreau) Anna Karenina (Leo Tolstoy) War and Peace (Leo Tolstoy) Crime and Punishment (Fyodor Dostoevsky) Art of War (Sun Tzu) Dead Souls (Nikolai Gogol) Don Quixote (Miguel de Cervantes) Dona Perfecta (Benito Pérez Galdós) A Doll's House (Henrik Ibsen) Gitanjali (Rabindranath Tagore) The Life of Lazarillo de Tormes (Anonymous) Life is a Dream (Pedro Calderon de la Barca) The Divine Comedy (Dante) Decameron (Giovanni Boccaccio) The Prince (Machiavelli) Arabian Nights Hamlet (Shakespeare) Romeo and Juliet (Shakespeare) Robinson Crusoe (Daniel Defoe) Pride & Prejudice (Jane Austen) Frankenstein (Mary Shelley) Jane Eyre (Charlotte Brontë) Wuthering Heights (Emily Brontë) Great Expectations (Charles Dickens) Ulysses (James Joyce) Pygmalion (George Bernard Shaw) Ivanhoe (Sir Walter Scott) Dr Jekyll and Mr Hyde (Robert Louis Stevenson) Peter and Wendy (J. M. Barrie) The Adventures of Huckleberry Finn (Mark Twain) Moby-Dick (Herman Melville) Little Women (Louisa May Alcott) Leaves of Grass (Walt Whitman) The Raven (Edgar Allan Poe) Anne of Green Gables (L. M. Montgomery) Iliad & Odyssey (Homer) The Republic (Plato) Faust, a Tragedy (Johann Wolfgang von Goethe) Siddhartha (Herman Hesse) Thus Spoke Zarathustra (Friedrich Nietzsche) 20,000 Leagues Under the Sea (Jules Verne) Journey to the Centre of the Earth (Jules Verne) The Hunchback of Notre Dame (Victor Hugo) The Flowers of Evil (Charles Baudelaire) The Count of Monte Cristo (Alexandre Dumas) The Poison Tree (Bankim Chandra Chatterjee) Shakuntala (Kalidasa) Rámáyan of Válmíki (Válmíki) Tao Te Ching (Laozi) The Analects of Confucius (Confucius) Hung Lou Meng or, The Dream of the Red Chamber (Cao Xueqin) Two Years in the Forbidden City (Princess Der Ling) Bushido, the Soul of Japan (Inazo Nitobé) The Book of Tea (Kakuzo Okakura) Botchan (Soseki Natsume)…