This book examines the adaptations of Amleth, a legendary Danish prince, in different works including Ur-Hamlet, Shakespeare’s Hamlet, Rosencrantz and Guildenstern Are Dead by Tom Stoppard, and Haider by Vishal Bhardwaj. The book employs various adaptation theories proposed by critics such as Linda Hutcheon, Thomas Leitch, and others to thoroughly analyze these adaptations in the context of intertextuality and adaptation studies. Throughout the book, the analysis is supported by a comprehensive review of existing scholarship on the topic, including critical essays, books, and articles written by various scholars. The book provides a thorough examination of the adaptations of Amleth in the context of intertextuality and adaptation theories, shedding new light on their interpretations, transformations, and cultural significance.

It is nearly two centuries since the first quarto of Hamlet was rediscovered, yet there is still no consensus about its relationship to the second quarto. Indeed, the first quarto, the least frequently read Hamlet, has been dismissed as "corrupt," "inferior" or like "a mutilated corpse," even though in performance it has been described as "the absolute dynamo behind the play." Currently one hypothesis dominates explanations about the quartos' interrelationship, supposing that the first quarto (published 1603) was reconstructed from memory by one or more actors who had performed minor roles in a version of the second quarto (published 1604-5). The present study reports on a detailed linguistic reassessment of the principal arguments for memorial reconstruction. The evidence--including a three way comparison between the underlying French source in Les Histoires Tragiques and the two quartos, and the informal features and specific grammatical aspects, and a documented memorial reconstruction in 1779--does not support the dominant hypothesis. The cumulative evidence suggests that the earliest scholars to examine the first quarto were right: the 1603 Hamlet came first, and the second quarto is a substantial, later revision.

Shakespeare's Hamlet is considered by many to be the cornerstone of the English literary canon, a play that remains universally relevant. Yet it seems likely that we have spent so long reading the play for its capacity to reflect ourselves that we have lost sight of the thing itself. The goal of this book is to look beyond the Hamlet that has bedazzled critics for centuries, to seek to apprehend the play in all of its historical distinctness. This is not simply the search for what the play me...

Critical Approaches to Shakespeare (1623-2000). Shakespeare for All Time addresses the keys to understanding the significance of the critical reception of Shakespeare from the seventeenth to the end of the twentieth century. It aims to show that the richness of these different modes of reading Shakespeare over time and their productive interactions have been fundamental in the constant resignification of Shakespeare as they have gradually conformed and fed our critical perception and interpretation of his works

For more than a century, critics of the Aeneid have assumed that all or most of its episodes must propound something about Aeneas and his mission to found the Roman people, and through them about Rome and Augustus; whether that is their positive aspects, or their brutality and destructiveness, or the contrast between the public "voice" of their achievements and the private "voice" of the suffering they cause. This book argues that this assumption is wrong; the Aeneid's main purpose was to present a series of emotionally moving episodes, especially pathetic ones. This book shows that the Aeneid makes more sense when regarded primarily as a series of emotion-arousing episodes than as expressing a pro-Aeneas, anti-Aeneas or two voices message. That is how it was regarded into the nineteenth century and that is what the ancient Greeks and Romans assumed was the main purpose of literature.

Shakespeare’s poetic-dramatic worlds are inescapably limited. There is always, in his poems and plays, a force (a contingent drive, a pre-textual undertow, a rational-critical momentum, an ironic stance, the deflections of error) coercing plot and meaning to their end. By examining the work of limits in the sonnets and in five of his plays, this book seeks not only to highlight the poet’s steadfast commitment to critical rationality. It also aims to plead a case of hermeneutic continence. Present-day appraisals of Shakespeare’s world-making and meaning-projecting potential are often overruled by a neo-romantic and phenomenological celebration of plenty. This pre-critical tendency unwittingly obtains epistemic legitimation from philosophical quarters inspired by Alain Badiou’s derisive rejection of "the pathos of finitude". But finitude is much more than a modish, neo-existentialist, watchword. It is what is left of ontology when reason is done. And cool reason was already at work before Kant. In accounting for the way in which Shakespeare places limits to life (Romeo and Juliet), to experience (The Tempest), to love (the Sonnets), to time (Macbeth), to the world (Hamlet) and to knowledge (Othello), Limited Shakespeare: The Reason of Finitude aims to underscore the deeply mediated dimension of Shakespearean experience, always over-determined by the twin forces of contingency and textual determinism, and his meta-rational and virtually ironic taste for irrational, accidental, and error-driven limits (bonds, bounds, deaths).

A comprehensive collection of the life and works of a literary great — William Shakespeare! The beautifully illustrated guide unravels the life and works of Shakespeare and his plays, from language, history, and themes to plays, poems, and sonnets. Explore the art of this famous playwright and his enduring legacy through the stunning gift format. Celebrate one of the theaters most influential contributors through his legendary works of comedy, tragedy, romance, and poetry. Inside this playbook, you’ll find: • A clear and accessible format. • Plot summaries of all 39 plays with lists of characters. • Guidance on how to read and interpret his great sonnets and narrative poems. • Plays ordered by time and genre, helping readers trace the development of Shakespeare’s topics, themes, and artistry. • Sidebars that clarify the mythological, geographical and historical context of each play and decode its language, dramatic action, and themes. • Illuminated guidance on how to approach reading the play and seeing it perform. Shakespeare fans will revel in the marvelous depiction of the Stratford-upon-Avon born Bard himself! His drama book allows you to dive into famous works like Hamlet, Romeo and Juliet, and A Midsummer Night’s Dream, and explore Shakespeare’s sources and inspirations for each! Themes, plots, characters, and language are brought to life with act-by-act plot summaries, resumes of main characters, and in-depth analysis of Shakespeare’s use of the English language. Shakespeare: His Life and Works is a wonderful exploration of plays, poems, and sonnets in the context of his life and the Elizabethan and Jacobean theatre, further enriching your on the page (or stage, or screen!) experience.