Customer Reviews

Four Tragedies (Penguin Classics)

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Not only is it a collection of Shakespeare's best tragedies, it is a library of information about each of the four tragedies presented here. Wonderful prefaces, written by Mark Van Doren bring the reader to know the "when's and where's" about the setting of each tragedy. Cosing out the book is a glossary terms and phrases that may stump the beginning Shakespearian reader. This book is great for the college student who needs it for a class as well as the working adult who wants a great story to read. I highly reccomend it!

Hamlet
This play, of course, is perhaps the best known in all of English literature. Taking it's inspiration from lesser plays and tales of the same name, Shakespeare crafted the characters, dialogue and plot into a timeless tale of betrayal, the quest for justice, and ultimately a hollow victory. This play, in short, is a downer.

I will speak daggers to her, but use none.

Of course, it really thrilled the audiences, who, lacking the primetime violence of today, enjoyed seeing the blood, the gore, the violence, the swordplay. Those with a more subtle bent were very satisfied with the wonderful dialogues, full of double and self-reflexive meanings. So many of the monologues have become common parlance in our language.

A hit, a very palpable hit.

The 'on one foot' synopsis: Hamlet, prince of Denmark, is suspicious that his step-father killed his father and usurped the throne and his mother's bedchamber; he plots to get revenge; in the meantime his love-interest Ophelia dies; in a duel to the death at the end the mother dies, the step-father dies, the duel contender dies, and Hamlet dies. Something is rotten in the state of Denmark.

The rest is silence.

Othello
Rude I am in speech,
And little blessed with the soft phrase of peace

Surely Shakespeare was not speaking of himself here. Even his poorly-spoken characters cannot help to have an elegance and subtlety all their own. Othello is another tragedy, this one driven by jealousy. The exact cause of the jealousy can vary; Iago can be jealous of Othello, of his love for Desdemona, of Desdemona herself, or several other possibilities. The emphasis often lies in the performance, and Shakespeare's play is written broadly enough to allow for any of these to be correct interpretations.

But men are men; the best sometimes forget.

Othello satisfied the need for violence, for passion, and for intrigue. 'On one foot', Iago, servant and friend of Othello, who also hates Othello, plants the seeds of suspicion that Desdemona has been unfaithful, leading Othello down a treacherous path that leads in his ultimate murder of Desdemona.

Take note, take note, O world!
To be direct and honest is not safe.

During one performance in the American Old West, an audience member became so entranced and enraged with the actor's portrayal of Iago that he took out his pistol and shot him. The tombstone of the actor reads 'Here lies the greatest actor'.

Lear
The prince of darkness is a gentleman.

This most difficult of Shakespeare plays, both for performing and for studying, is one of the true masterpieces of English (or any) literature, and yet is underperformed and underappreciated due to the power of its complexity and of its tragedy. Indeed, often the tragedy at the end has been softened by having Cordelia survive victorious. Beware these kinds of performances--they not Shakespeare's intent, however much we wish.

Lear begins with folly, and ends in tragedy, while treachery and evil seems to creep like a vine choking off first this person, then that. The fool is the only wise one; the insane are the only protected, and the nobles increasingly lose nobility of intent and action as the events progress. Gloucester and Lear are both deceived by wicked children turned against their better offspring; all ends in tragedy for most of the lot.

Lear addresses sibling rivalries, parent/child relationships, poverty and insanity, and any number of other readily accessible issues, but all interwoven so tightly that they cannot be unravelled easily, yet all the while the world for the characters are unravelling thread by thread before our very eyes. Lear points out the folly of human planning and agency. Lear was banned from performance, actually, during 1788-1820 when George III was considered insane, and the connexion between stage and royalty would be too blurred for official comfort.

Howl, howl, howl, howl! O! you are men of stones!

Macbeth
The witches, the blood-stained hands, the play whose name must not be mentioned in a theatre lest bad luck befall the actor or production. Macbeth is all of these, and more. Loosely based upon a real historical character, the tragedy here is one of ambition.

Fair is foul, and foul is fair:
Hover through the fog and filthy air

Did Macbeth really see the ghost of Banquo at the banquet, or was it indigestion because of the haggis? Macbeth can be played with or without a conscience, which makes for differing character development, but both options are available in Shakespeare's flexible playwriting.

Hear it not, Duncan; for it is a knell
That summons thee to heaven or to hell

Macbeth is driven by his ambition, but also by the ambition of his wife, Lady Macbeth, as treacherous a villain in many respects as any male character in Shakespeare. Macbeth has an overgrown sense of invincibility, convinced by prophecies that his course will be successful, and ordinarily it is (until it all goes awry); it is a successful struggle to the throne, but never secure, and in the end, all is lost.

Macbeth may be the bloodiest of Shakespeare's plays, a thrill for Elizabethan audiences, and a wonder to behold as the scenes get ever more desperate and darker.

This edition
There are so many editions of Shakespeare available, and many have merits. This particular volume of the four major tragic plays provides commentary by David Bevington which is insightful and accessible; it also gives photographs of performances and stagings by the New York Shakespeare Festivals, modernised spelling and concordance listings of major passages. Not short by any means (nearly 1000 pages), this will nonetheless give a good study to the plays, with visual aids, and supportive material, all in one volume.

An integral part to any Shakespeare work is the presence of footnotes! This book has a glossary, but it does not do any good because there is not sign in the actual text itself that one can look up specific words in the glossary. While the plays themselves are very enjoyable, do not purchase this edition unless you feel very confident about your ability to read Shakespearean language.

To have the four great tragedies together raises the question of what the essence, the real heart of Shakespearean tragedy is.
In Aristotle's definition of Greek tragedy the overweening pride of the hero(hubris) and tragic fault( hamartia ) lead to his eventual destruction. The audience watching this is in the course of this purged of pity and fear.
In Shakespearean tragedy there is as in Aristotle a hero who is larger than the ordinary man. The hero too has a great flaw and comes to a destructive end. But the doubt and hesitancy of dreaming Hamlet, the great ambition for kingship of Macbeth, the blind filial love of Lear seem more emotionally complex than that of the Greek heroes. And the language in which the story of their respective downfalls is told is too more rich, complex, and ambivalent than that of the clearer Greek earlier model.
And this in such a way that the Shakespearean tragic heroes each seem to be in themselves a kind of supreme human essence, a manifestation of character at its greatest level of intensity.
Shakespeare's greatest heroes are individuals who become in some sense the ' type' of themselves, and live in our minds as models of humanity in its extreme essence.
'Greatness is all'

this is an excellent 'cheap' edition of the great tragedies. besides being edited by david bevington, considered one of the foremost shakespeare scholars, the bantam edition also includes introductory essays for each play AND the source material that shakespeare used - ie, the actual short stories or plays that the bard drew on to the write his plays. wonderful stuff and a great way to get into shakespeare.

I am very pleased with the purchase and the timely manner in which the book came. It arrived just in time for the beginning of the semester and was in great condition. Also, I appreciated the fact that the book was as described.

this is a great book for shakespeare fans. it was the first time i read shakespeare outside of class, and it was very interesting. i didn't like the prefaces much, i didn't have the patience to read them. i felt they were very of long, and harder to read and understand than the actual shakespeare. they actual plays-not stories, just to clarify- are wonderful. it would be a great book to read if you are taking a literature class and want to get a head start or if you want to expand your vocabulary. you can even relate the problems of those times to the problems of today. the plays were very fun to read once you got into them; shakespeare is just as great as he is said to be.

otthelo was the lord of jelousy towords his lovely wise desdemona. It's quit interesting at the beginning and ended with a very sad situation.