As You Like It, and: King Richard III, and: The Merchant of Venice, and: Romeo and Juliet, and: The Winter's Tale (review)

2004 ◽  
Vol 55 (3) ◽  
pp. 337-341
Author(s):  
Michael D. Friedman
Keyword(s):  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
The Winter's Tale ◽  
Richard Iii ◽  
Winter's Tale ◽  
The Merchant Of Venice ◽  
As You Like It

Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; King Richard III. By Gillian Day. xiii + 259 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Merchant of Venice. By Miriam Gilbert. xiii + 183 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Winter's Tale. By Patricia E. Tatspaugh. xiii + 240 pp. $24.99.

2004 ◽  
Vol 45 (1) ◽  
pp. 155-158
Author(s):  
Cary M. Mazer
Keyword(s):  
King Lear ◽  
Julius Caesar ◽  
Merchant Of Venice ◽  
The Winter's Tale ◽  
Richard Iii ◽  
Winter's Tale ◽  
The Merchant Of Venice

Scholars preparing production histories of individual Shakespeare plays have long been faced with the challenges of structuring their studies. The scholar can choose to write a straightforward one-actor-or-production-after-another monograph (Rosenberg on Othello, Ripley on Julius Caesar and Coriolanus, Bartholomeuz on Macbeth and The Winter's Tale, etc.), a transhistorical encyclopedic scene-by-scene and line-by-line collation (Rosenberg on King Lear, Macbeth, and Hamlet), a transhistorical interlineated text (Bratton and Hankey's Shakespeare in Production editions, under a variety of different series titles and publishers), or an exemplary-production snapshot album (Mulryne and Bulman's Shakespeare in Performance series).

Yves Bonnefoy and Shakespeare as a French Poet

2013 ◽  
Author(s):  
Efraín Kristal
Keyword(s):  
Romeo And Juliet ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
Poetic Voice ◽  
As You Like It ◽  
Great Poet ◽  
To Come ◽  
The Relationship ◽  
Poetic Vision ◽  
Yves Bonnefoy

Yves Bonnefoy is a key figure in the French literary reception of Shakespeare. This essay explores his interpretations and translations of Shakespeare’s plays and poems, informed by his own poetic vision, anchored in a literary tradition whose high points include Baudelaire and Rimbaud. Bonnefoy argues that Shakespeare finds his poetic voice after experimenting with the sonnet—a genre Bonnefoy considers staid and prone to cliché when Shakespeare took it up. For Bonnefoy Shakespeare begins to come alive as a great poet in As you Like It and Romeo and Juliet; and his supreme achievement is The Winter’s Tale, a play which encompasses the scope of the entire oeuvre and resolves some underlying concerns of the major tragedies while offering a refined appraisal of the relationship between art, nature, and existence apposite to Bonnefoy’s own views about poetry.

scholarly journals Identity in Shakespeare

2012 ◽  
pp. 33
Author(s):  
Jay L. Halio
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
Twelfth Night ◽  
Her Family ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Course Of Action ◽  
Self Knowledge ◽  
Antic Disposition

This paper surveys the problems of identity in a number of Shakespeare’s plays, such as The Taming of the Shrew, The Comedy of Errors, As You Like It, Twelfth Night, The Merchant of Venice, Romeo and Juliet, Hamlet, and Othello. In these plays as in many others, Shakespeare explores the complexity of identity, not only through the use of disguise, as in the major comedies, but also through the problems of self-knowledge. The latter issue is prominent and explicit in King Lear when, for example, Lear asks “Who is it that can tell me who I am?” The opening words of Hamlet, “Who’s there?” introduce the problem from the outset, and much of the play is given over to characters trying to discover who the others in the play really are. Is the Ghost an honest ghost, or “a goblin damned?” Is Hamlet really mad or just putting on an “antic disposition” as he struggles to discover his proper course of action as his father’s avenger? Is Kate really a shrew, or just made to act like one by her family and others?

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