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King Richard II (Anglais) Broché – 21 mars 2002

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Descriptions du produit

Book by William Shakespeare

Détails sur le produit

  • Broché: 612 pages
  • Editeur : Arden Shakespeare; Édition : 3 (21 mars 2002)
  • Collection : The Arden Shakespeare
  • Langue : Anglais
  • ISBN-10: 1903436338
  • ISBN-13: 978-1903436332
  • Dimensions du produit: 13,2 x 3,2 x 19,8 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: 61.063 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Première phrase
Richard II marks an exciting advance in the development of Shakespeare's artistry. Lire la première page
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Table des matières | Extrait | Index | Quatrième de couverture
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8 internautes sur 9 ont trouvé ce commentaire utile  Par Kindvalley le 6 novembre 2004
Format: Broché
Cette édition est très belle et remplie d'illustrations (gravures et photos). Le livre contient, en plus du texte :
- une longue introduction, parlant entre autre de la politique ou du langage à l'époque de Shakespeare,
- plusieurs pages de notes et explications,
- des appendices (analyses textuelles, tableaux généalogiquees...)
C'est une oeuvre très complète.
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1 internautes sur 1 ont trouvé ce commentaire utile  Par Mlu le 16 janvier 2013
Format: Broché Achat vérifié
J'ai étudié ce livre à l'université, l'intrigue est toujours très actuelle, comme avec presque toute les pièces de Shakespeare, et l'édition est très bien car il y a énormément de notes pour faciliter la compréhension.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 9 commentaires
18 internautes sur 21 ont trouvé ce commentaire utile 
One of Shakespeare's great histories in a most helpful and rich edition 21 avril 2006
Par Craig Matteson - Publié sur Amazon.com
Format: Broché
This play is the first of four histories involving the rise of Harry Bolingbroke into King Henry IV (parts I & II) and then his son, Prince Hal, into Henry V. These four plays are always popular with audiences and have many virtues, although they are quite different in affect and theatrical means. This play is full of poetry and carefully composed verse. The two Henry IV plays are blessed the Falstaff's glorious prose and Henry V has its own interesting dualities in Prince Hal finally becoming the King - are his comments sincere or full or irony or is he blind to the irony of his own making? But those are other plays.

As this play begins, the York line is in power as Richard II who came to power as a child. Henry Bolingbroke is the son of the Duke of Lancaster (John of Gaunt) and is also the Duke of Hereford as the Earl of Derby. Richard shows through his actions and weak decisions (both weak in strength and weak in acumen) that his hold on the throne is open to challenge. When Bolingbroke decides to make the challenge is open to debate, but he picks a fight with Mowbray and both end up banished instead. This causes a tremendous rift with the Duke of Lancaster and when he dies, Richard decides to seize Lancaster's possessions in Ireland instead of letting them pass to Bolingbroke.

Since Bolingbroke is now the new Duke of Lancaster he decides he is no longer the banished Duke of Hereford and returns to England. A number of rumors and challenges lead to Bolingbroke taking power and when Richard returns from Ireland his loss of his kingdom is accomplished without his realizing it. The rest of the play is the fall of Richard and the rise of Henry IV with the attendant strain on the loyalties of the peers.

Shakespeare's genius for verse and the exposition of character is blazingly manifest in this play and that is one of the reasons for its popularity and the walls of books written about this play. Richard's inwardness and self-absorption is quite communicated to us quite differently than Henry's boldness and aggression. The way the peers show their divided loyalties, anger, fear, and duplicity is also wonderfully done.

This Arden edition is from the third series and has some of the features of more modern scholarship. It is also almost exhaustively noted and resourced. The reader of this edition is given more than 150 pages of introductory material on the origins, language, meaning, and performance history of the play and can choose which to read and which to leave for another time. The notes on each page of text include notes to help the reader understand the text, but also notes on the history versus the play and Shakespeare's sources (such as Holinshead). There are longer notes at the back, and a textual analysis in the first appendix, a doubling chart for performance in appendix two, and a genealogical table for the third appendix (very useful). There is also a list of reference works and an index.

I am a huge fan of the Arden editions and enjoy reading the plays with all this helpful material and I strongly recommend this edition of this play.
5 internautes sur 5 ont trouvé ce commentaire utile 
Excellent work of the editor 27 novembre 2007
Par islander - Publié sur Amazon.com
Format: Broché
This is the best edition in the Arden collection I have read until now, by Charles Forker. Very helpful to understand meaning with clear footnotes and a serious introduction in which, for example, you learn about historical and fictional facts in the play, and many other clues.
I agreed with a reviewer of another Arden work who said: "The text itself is full of stumbling, often unhelpful endnotes - what students surely want are explanations of difficult words and figures, not a history of scholarly pedantry. The edition concludes with textual appendices."
It happened to me before but fortunately not in this work, which is excellent. The editor makes the difference. I hope Arden Series follows this line!
"We are amazed.....": THE SUN AND GOLDEN : strategies in interpretation for actors 11 décembre 2014
Par Spirit Visitor - Publié sur Amazon.com
Format: Broché Achat vérifié
Beautiful introductory notes elucidating the history of the house of Plantagenet, the ongoing civil wars and Shakespeare's use of verse and imagery. Good dissection in the footnotes of references, antecedents and sentence structure. A must for actors and directors. Invaluable in enlightening this period of Shakespeare's writing.
A great help for actors in detecting the sense of verse, psychology and sentences. Footnotes are admirable in their illumination of the logic of Shakespeare's comparisons and the details and responsibilities of kingship to GOD and country..
Par Mary J. Busatti - Publié sur Amazon.com
Format: Broché Achat vérifié
0 internautes sur 1 ont trouvé ce commentaire utile 
Par THUMBTOM - Publié sur Amazon.com
Format: Broché
There can never be a Fourth Arden Shakespeare. Coloured pictures must never run in the silent cinema where The Arden runs its “Priscian but a little scratched” 38mm projections. Coloured plates! Among the woodcuts it would be frightening.
This unwieldy Richard II (600 pages with index) is an example of the mighty Third Arden. In print this is clearly as far as it is possible to go with ink on thicker paper. The thinner stock chosen for the second Arden (300 pages no index) looks a very slim piece of work by its side; dashed off in “a term’s leave of absence” for which, in its preface, Peter Ure breathlessly thanks “the Council of King’s College”.

Why so thick? After six years’ work, Charles R. Forker disingenuously apologises for hefty quotation in the footnotes from Holinshed and Woodstock and all the rest; that might “overwhelm the text”. On top of obsessive noting of every alexandrine and compulsive suggestions how failures in the pentameter might be force fed to us, it is indeed hard to tell the rooky wood from the paper pulp of the trees. Unlike The Cambridge which has sensibly decided to add accents to the basic text, there is a footnote for every single accented è. It takes some time to become familiar with the Arden abbreviations: SD, SP, t.n. and LN. It is not difficult; but the constant turning back; looking for willow wands to divine for an abbreviations list; checking the bibliography; hailing a taxi and speeding along in the long notes, getting out while the meter is running; stopping the reading, is finally depressing. This is as far as we can take the typesetters art. It is no longer the way to go. We want something we can look at on the phone.

I dream of a day when copyright is laughed at; when we’ll be able to put our own text together. Feel free to use my joke about “willow wands” without acknowledgement. We can be free to cut and paste from all the Ardens of the past, link to Capell, Samuel Johnson and Abbott and see facsimiles of the pages they wrote. After Baptists like me, there will come a Jimmy Wales who will provide, for every word, links to dictionary etymologies and meanings; one click for footnotes and a double click for the actual line in all FIVE Quarto facsimiles and the Folio; buttons and apps so that we could find video clips of the very lines being spoken in every play on record; even deeper: the audio files. The future for The Arden must be as it was for my yellowing red and black Penguin Roget’s Thesaurus. The relational databases of The Internet have shown us The Way. Imagine your own text of Shakespeare, endlessly variable to taste; to see it unsullied by footnotes unless we choose, at mouseover, to mark our doorposts and sit back for a variorum aurora borealis of The Northern Lights.

As long as we think like children, we must defer to those with tenure and university gowns, until we can place experts like Charles R. Forker; who himself, in this magisterial masterpiece, gives us pause to weigh the declamations of the earlier Arden editors, Ivor B. John and Peter Ure, old Phaetons of the past, that are now apart from the fires at the cloaking edge of black, wholly eclipsed.

To be called from the badlands of scholarship to the aerie regions of immortality with the prospect of regular employment with The Arden Shakespeare, must strike a man “more dead than a great reckoning in a little room”. It is clear that the benediction of the Arden call is less an acknowledgement of expertise in the field than that it comes with humility. The chosen ones must join with, but defer to Arden associates, deservedly immortal, that include Richard Proudfoot and George Walton Williams; both acknowledged in the Richard II commentary as RP and GWW. The self-aggrandizing Professor Stanley Wells, now, as we speak, trawling The Internet for his own name, would NEVER have been called. This Arden compliments Wells by quoting his subtle insights verbatim on many occasions.

Charles R. Forker is as safe a pair of hands as ever wore a strait jacket. He never strays from orthodoxy to commandeer the methodology of Brian Vickers to assert that the old play “Woodstock” discovered in 1870 by Halliwell might be by Shakespeare and is essential to understanding the artistry of the canon’s Richard II.
The high water mark of the typesetters art is moved higher in any Arden. Do the, as ever, unrecorded Arden journeymen typesetters, treading warily upon such holy ground, ever imagine being presented with laurels as their Tudor forebears have been? Has anyone pointed out that in the second Arden “Egerton 1994” is referred to as “1944”? Was this obfuscation intentional? Or was it “eye-skip” of a latter-day “Compositor B” or “Simmes’s Compositor A”?

Imagining the play that we now know as “Richard II” as it was rehearsed and performed by the original Elizabethans in castles and country manor houses and then for the London theatres; its revival with the deposition scene for The Essex rebellion; imagining what it was that Shakespeare actually wrote; deciding between the quartos and the folio to reach a consensus upon what might be a definitive text; deciding whether to bring in to the canon other texts or whether to exclude “Thomas of Woodstock” or call it “1Richard II”; and the recalling of performances of plays now available on DVD and those seen in real life; are so thoroughly covered in the authority that goes by the name of The Arden Shakespeare; we must think that no more can ever be said. The Arden however, far from ever having the final word, has established that there can be no final word, but nowhere else between two covers is there an attempt to summarise ALL that has gone before. It will never be done again or done better.
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