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Siglo XVII. Shakespeare, William Condition: Good. Ships from Reno, NV. Shows some signs of wear, and may have some markings on the inside.follow link
William Shakespeare | Virtual Library
Seller Inventory GRP Canto superior dorado. Siglo XVI. Obra selecta. Grandes genios de la literatura universal. Firma del anterior propietario. Buen estado. Firma anterior propietario. Sobrecubierta fatigada. Published by Club Internacional del Libro About this Item: Club Internacional del Libro, Grandes genios de la literatura universal, vol. Texto a 2 columnas. Published by Alonso About this Item: Alonso, Tapa dura.
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Condition: Muy bien. Dust Jacket Condition: Bien. Seller Inventory L Tapa Blanda. Dust Jacket Condition: Muy bien. Published by Edaf, Madrid About this Item: Edaf, Madrid, Literatura en lengua inglesa. Published by Editores Mexicanos Unidos About this Item: Editores Mexicanos Unidos, Condition: New. Seller Inventory EMU Published by Createspace Independent Pub About this Item: Createspace Independent Pub, Condition: Brand New.
Spanish language. This item is printed on demand. Seller Inventory zk Falto del lomo.
Published by Ediciones Nauta About this Item: Ediciones Nauta, Published by Alonso. About this Item: Alonso. Comedia en sentido estricto. Drama con un final feliz. Las alegres comadres de Windsor. About this Item: " Pag. Libro antiguo. Sello en el canto, expurgado de bibliteca. Bien conservado. Published by Aura, Barcelona About this Item: Aura, Barcelona, Condition: Excelente. About this Item: Condition: Aceptable. The most crucial fact about William Shakespeare's career is that he was a popular dramatist. Born six years after Queen Elizabeth I had ascended the throne, contemporary with the high period of the English Renaissance, Shakespeare had the good luck to find in the theater of London a medium just coming into its own and an audience, drawn from a wide range of social classes, eager to reward talents of the sort he possessed.
His entire life was committed to the public theater, and he seems to have written nondramatic poetry only when enforced closings of the theater made writing plays impractical. It is equally remarkable that his days in the theater were almost exactly contemporary with the theater's other outstanding achievements--the work, for example, of Christopher Marlowe, Ben Jonson, and John Webster. Shakespeare was born on or just before April 23, , in the small but then important Warwickshire town of Stratford.
His mother, born Mary Arden, was the daughter of a landowner from a neighboring village. His father, John Shakespeare, son of a farmer, was a glove maker and trader in farm produce; he had achieved a position of some eminence in the prosperous market town by the time of his son's birth, holding a number of responsible positions in Stratford's government and serving as mayor in By , however, John Shakespeare had begun to encounter the financial difficulties that were to plague him until his death in Though no personal documents survive from Shakespeare's school years, his literary work shows the mark of the excellent if grueling education offered at the Stratford grammar school some reminiscences of Stratford school days may have lent amusing touches to scenes in The Merry Wives of Windsor.
Like other Elizabethan schoolboys, Shakespeare studied Latin grammar during the early years, then progressed to the study of logic, rhetoric, composition, oration, versification, and the monuments of Roman literature. The work was conducted in Latin and relied heavily on rote memorization and the master's rod. A plausible tradition holds that Shakespeare had to discontinue his education when about 13 to help his father.
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At 18 he married Ann Hathaway, a Stratford girl. They had three children Susanna, ; Hamnet, ; and his twin, Judith, and she was to survive him by seven years. Shakespeare remained actively involved in Stratford affairs throughout his life, even when living in London, and retired there at the end of his career. The years between and , having left no evidence as to Shakespeare's activities, have been the focus of considerable speculation; among other things, conjecture would have him a traveling actor or a country schoolmaster. The earliest surviving notice of his career in London is a jealous attack on the "upstart crow" by Robert Greene, a playwright, professional man of letters, and profligate whose career was at an end in though he was only six years older than Shakespeare.
Greene's outcry testifies, both in its passion and in the work it implies Shakespeare had been doing for some time, that the young poet had already established himself in the capital. So does the quality of Shakespeare's first plays: it is hard to believe that even Shakespeare could have shown such mastery without several years of apprenticeship. Shakespeare's first extant play is probably The Comedy of Errors ; like most dates for the plays, this is conjectural and may be a year or two off , a brilliant and intricate farce involving two sets of identical twins and based on two already-complicated comedies by the Roman Plautus.
Though less fully achieved, his next comedy, The Two Gentlemen of Verona , is more prophetic of Shakespeare's later comedy, for its plot depends on such devices as a faithful girl who educates her fickle lover, romantic woods, a girl dressed as a boy, sudden reformations, music, and happy marriages at the end.
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The last of the first comedies, Love's Labour's Lost , is romantic again, dealing with the attempt of three young men to withdraw from the world and women for three years to study in their king's "little Academe," and their quick surrender to a group of young ladies who come to lodge nearby. If the first of the comedies is most notable for its plotting and the second for its romantic elements, the third is distinguished by its dazzling language and its gallery of comic types.
Already Shakespeare had learned to fuse conventional characters with convincing representations of the human life he knew. Though little read and performed now, Shakespeare's first plays in the popular "chronicle," or history, genre are equally ambitious and impressive. Dealing with the tumultuous events of English history between the death of Henry V in and the accession of Henry VII in which began the period of Tudor stability maintained by Shakespeare's own queen , the three "parts" of Henry VI and Richard III are no tentative experiments in the form: rather they constitute a gigantic tetralogy, in which each part is a superb play individually and an integral part of an epic sequence.
Nothing so ambitious had ever been attempted in England in a form hitherto marked by slapdash formlessness. Shakespeare's first tragedy, Titus Andronicus , reveals similar ambition. Though its chamber of horrors--including mutilations and ingenious murders--strikes the modern reader as belonging to a theatrical tradition no longer viable, the play is in fact a brilliant and successful attempt to outdo the efforts of Shakespeare's predecessors in the lurid tradition of the revenge play.
When the theaters were closed because of plague during much of to , Shakespeare looked to nondramatic poetry for his support and wrote two narrative masterpieces, the seriocomic Venus and Adonis and the tragic Rape of Lucrece, for a wealthy patron, the Earl of Southampton. Both poems carry the sophisticated techniques of Elizabethan narrative verse to their highest point, drawing on the resources of Renaissance mythological and symbolic traditions.
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Shakespeare's most famous poems, probably composed in this period but not published until , and then not by the author, are the sonnets, the supreme English examples of the form. Writing at the end of a brief, frenzied vogue for sequences of sonnets, Shakespeare found in the conventional line lyric with its fixed rhyme scheme a vehicle for inexhaustible technical innovations--for Shakespeare even more than for other poets, the restrictive nature of the sonnet generates a paradoxical freedom of invention that is the life of the form--and for the expression of emotions and ideas ranging from the frivolous to the tragic.
Though often suggestive of autobiographical revelation, the sonnets cannot be proved to be any the less fictions than the plays. The identity of their dedicatee, "Mr. But the chief value of these poems is intrinsic: the sonnets alone would have established Shakespeare's preeminence among English poets. By Shakespeare was fully engaged in his career. In that year, he became principal writer for the successful Lord Chamberlain's Men--one of the two leading companies of actors; a regular actor in the company; and a "sharer," or partner, in the group of artist-managers who ran the entire operation and were in to have the Globe Theater built on the south bank of the Thames.
The company performed regularly in unroofed but elaborate theaters. Required by law to be set outside the city limits, these theaters were the pride of London, among the first places shown to visiting foreigners, and seated up to 3, people.
Hamlet / Romeo y Julieta (Biblioteca Edaf)
The actors played on a huge platform stage equipped with additional playing levels and surrounded on three sides by the audience; the absence of scenery made possible a flow of scenes comparable to that of the movies, and music, costumes, and ingenious stage machinery created successful illusions under the afternoon sun. For this company Shakespeare produced a steady outpouring of plays.
Shakespeare's only tragedies of the period are among his most familiar plays: Romeo and Juliet , Julius Caesar , and Hamlet Different from one another as they are, these three plays share some notable features: the setting of intense personal tragedy in a large world vividly populated by what seems like the whole range of humanity; a refusal, shared by most of Shakespeare's contemporaries in the theater, to separate comic situations and techniques from tragic; the constant presence of politics; and--a personal rather than a conventional phenomenon--a tragic structure in which what is best in the protagonist is what does him in when he finds himself in conflict with the world.
Continuing his interest in the chronicle, Shakespeare wrote King John , despite its one strong character a relatively weak play; and the second and greater tetralogy, ranging from Richard II , in which the forceful Bolingbroke, with an ambiguous justice on his side, deposes the weak but poetic king, through the two parts of Henry IV , in which the wonderfully amoral, fat knight Falstaff accompanies Prince Hal, Bolingbroke's son, to Henry V , in which Hal, become king, leads a newly unified England, its civil wars temporarily at an end but sadly deprived of Falstaff and the dissident lowlife who provided so much joy in the earlier plays, to triumph over France.
More impressively than the first tetralogy, the second turns history into art. Spanning the poles of comedy and tragedy, alive with a magnificent variety of unforgettable characters, linked to one another as one great play while each is a complete and independent success in its own right--the four plays pose disturbing and unanswerable questions about politics, making one ponder the frequent difference between the man capable of ruling and the man worthy of doing so, the meaning of legitimacy in office, the value of order and stability as against the value of revolutionary change, and the relation of private to public life.
The plays are exuberant works of art, but they are not optimistic about man as a political animal, and their unblinkered recognition of the dynamics of history has made them increasingly popular and relevant in our own tormented era. Three plays of the end of Elizabeth's reign are often grouped as Shakespeare's "problem plays," though no definition of that term is able successfully to differentiate them as an exclusive group.