King Lear (Arden Shakespeare: Third Series) [Paperback]

William Shakespeare (Author), R.A. Foakes (Editor)

Book Description

Release date: May 9, 1997

In the first part of Foakes's introduction, the editor examines King Lear as it is read in the mind versus how it is performed on the stage, analyzing historical productions and certain elements of the play that shine in performance but not in text, and vice versa. This section also explores how and why the play has invited so many interpretations, in reading and performance, since its inception. The next part of the introduction considers trends in the criticism and staging of the play, such as the recent shift of favor from redemptive to bleak readings. Foakes then addresses the dating of the play, the differences among the Quarto and Folio texts, and whether these changes are mere discrepancies or intentional revisions. Finally, the editor discusses the casting of the play and explains notable usages in his edition. There are two appendices that follow the play: the first examines two textual problems that are particularly difficult to interpret, and the second explains differences in lineation between the Quarto and Folio editions, which resulted from confusion whether certain lines were in prose or verse. This edition also includes lists of illustrations, abbreviations, and references, as well as a general editors’ preface and an index.

The Arden Shakespeare has developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play’s foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader.

Editorial Reviews

Review

'By far the best edition of King Lear - in respect of both textual and other matters - that we now have.' -- John Lyon, English Language Notes

About the Author

R. A. Foakes is Professor Emeritus at the University of California, Los Angeles. He has also taught or held fellowships at Yale, Birmingham, Durham, Kent, Toronto, the University of California, Santa Barbara, and the Australian National University, Canberra. He has written extensively on King Lear in his book, Hamlet versus Lear: Cultural Politics and Shakespeare's Art.

Product Details

• Paperback: 456 pages
• Publisher: Arden Shakespeare; 3rd edition (May 9, 1997)
• Language: English
• ISBN-10: 1903436591
• ISBN-13: 978-1903436592
• Product Dimensions: 5.1 x 1.2 x 7.8 inches
• Shipping Weight: 1 pounds (View shipping rates and policies)
• Average Customer Review: 3.9 out of 5 stars  See all reviews (50 customer reviews)
• Amazon Best Sellers Rank: #88,509 in Books (See Top 100 in Books)

More About the Author

William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King's New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as "an upstart crow, beautified with our feathers." Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain's Men (later under James I, called the King's Men). In 1599 the Lord Chamberlain's Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare's plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement in Stratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. He died on April 23 1616, and was buried in Holy Trinity Church, Stratford. No collected edition of his plays was published during his life-time, but in 1623 two members of his acting company, John Heminges and Henry Condell, put together the great collection now called the First Folio.

Amazon Author Rankbeta 

(What's this?)

#37 in Books > Literature & Fiction > Classics

#37 in Books > Literature & Fiction > Classics

Most Helpful Customer Reviews

22 of 22 people found the following review helpful

5.0 out of 5 stars Terrific for understanding the play January 4, 2007

By T. Fleming VINE™ VOICE

Format:Audio CD

As a high school English teacher I struggle with students' bad attitudes toward Shakespeare. Forget reading it aloud! They have no idea what they are saying, and it is painful for all of us. And having them read it on their own is a joke, as they will stop after a page because they can't understand what they are reading.

This unabridged, dramatized reading of Othello is a perfect solution for anyone who wants to read and understand Shakespeare in his original vernacular without reading some kind of "updated" version. The characters are distinct, the pace exciting, and the included music really sets the scene. You could just listen to the CD, but if you're not familiar with the story or you have trouble with Shakespeare, I would follow along with a text as well. And of course, listen to it more than once because you will pick up new ideas or images each time--I know I do!

I have purchased this product twice (once on tape and once on CD). I would love to have a whole Shakespeare set of these!

7 of 7 people found the following review helpful

5.0 out of 5 stars Conflation fights back April 20, 2010

By Jon Chambers

Format:Paperback

Although RA Foakes' Arden3 edition appeared some years after those of Wells & Taylor (Complete Oxford) and Jay L Halio (Cambridge) it did not follow their precedent of issuing separate texts based on Quarto and Folio originals. These early texts (Q 1608 and F 1623 respectively) occasionally offer quite different versions of the play and reconciling them to form a single, coherent whole is a task that is, arguably, less elegant than the dual edition solution. By comparison, Arden's text looks cumbersome, with numerous Q and F superscripts surrounding passages found exclusively in one or other source.

Foakes is well aware that his single, 'conflated' text isn't as fashionable as those of the 'revisionists' mentioned above, who believe that the Folio text of Lear represents Shakespeare's revised and final draft, and that modern editors should not pick and mix between Q and F but respect the integrity of the two early sources. While seemingly reactionary, Foakes is in fact countering the new orthodoxy of Halio et al. In his view, their 'dogmatic and purist stance ... abandons the idea of King Lear as a single work of which we have two versions.' He is cautious and level-headed in his approach, aware of the limitations of scholarly speculation and in presenting both Q and F variants he allows the reader to make up her/his own mind.

Aside from this central controversy, Arden3 Lear has much to offer. Foakes reminds us of some key differences between the Jacobean world and our own: the original audience, he says, would have tuned in much more readily than us to puns and linguistic innovation; grasped the symbolic difference between crown and coronet; fully understood the distinctions of 'thou' and 'thee'; and recognised the constitutional impossibility of a monarch giving away his kingdom as though it were in his personal gift. The Introduction also presents illuminating discussions on loyalty and disobedience (in which Oswald could conceivably be seen as an ideal servant and Kent a bad one), on the problem of illusion in Gloucester's attempted suicide (IV.6) and on the influence of writers such as Harsnett, Erasmus and Montaine. Plentiful examples of dramatic practice from the play's long stage history are skilfully integrated into these discussions, while its equally rich critical history - especially that of the C20 - is helpfully evaluated. The conclusion is that there can be no return to Christian redemptionist optimism on the one hand or to totally nihilistic interpretations on the other. A recognition of the play's complexity, paradoxes and contradictions have led many to feel, in the words of Richard Fly, 'a deep distrust of all attempts at closure' in King Lear.

Ultimately, therefore, this Arden3 is not as radical as rival editions. But it presents an honest, balanced and democratic version of the play in which judgements are occasionally forcefully expressed and occasionally left unresolved. It is comprehensive, authoritative and thought-provoking and should be of value to any serious student.

5 of 5 people found the following review helpful

1.0 out of 5 stars Arkangel usually outstanding...but November 15, 2010

By Badger75

Format:Audio CD|Amazon Verified Purchase

The Arkangel audio CD's of Shakespeare's plays have an outstanding reputation. Most are really first rate and are quite enjoyable to listen to. Hamlet, MacBeth and Julius Caesar are very well done, complete plays well interpreted. Which is all the more baffling as to why Othello and Merchant of Venice are so notably bad. The overall productions and main players seem to have been chosen to project caricature rather than serious adaptation. That may be a fair point in a class room, but these two plays deserve a serious presentation.