Twelfth Night (Arden Shakespeare: Second Series) (Paperback)

by William Shakespeare (Author), J. M. Lothian (Editor), T.W. Craik (Editor) "Twelfth Night was first printed in the Folio of 1623: that there had been no quarto edition is implied by the play's being entered in..." (more)
Key Phrases: barful strife, goodman devil, willow cabin, Sir Toby, Sir Andrew, Twelfth Night (more...)

Editorial Reviews

Product Description
The Arden Shakespeare is the established edition of Shakespeare's work. Justly celebrated for its authoritative scholarship and invaluable commentary, Arden guides you a richer understanding and appreciation of Shakespeare's plays. This edition of Twelfth Night provides, a clear and authoritative text, detailed notes and commentary on the same page as the text, a full introduction discussing the critical and historical background to the play and appendices presenting sources and relevant extracts.

Product Details

• Paperback: 449 pages
• Publisher: Arden Shakespeare; 2nd edition (September 18, 1975)
• Language: English
• ISBN-10: 1904271154
• ISBN-13: 978-1904271154
• Product Dimensions: 7.7 x 4.9 x 0.6 inches
• Shipping Weight: 10.6 ounces (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
• Amazon.com Sales Rank: #276,128 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Excellent Resource, September 9, 2007

By	Kelly Morgan "Dama's Mama" (Henderson, NV) - See all my reviews (REAL NAME)

Arden, in general, has the definitive series for those studying or teaching Shakespeare. The footnotes are very valuable resources for the language, history, and even staging of the plays. If you only have room or money for one set of Shakepeare's plays, make Arden your choice.

5 of 7 people found the following review helpful:

5.0 out of 5 stars A warm and delightful comedy - great edition, December 15, 2004

By	Craig Matteson (Ann Arbor, MI) - See all my reviews (TOP 50 REVIEWER)

To call this a good natured comedy would be true as far as that goes, but would work against convincing you about its many delights. It is indeed full of many preposterous situations, which are tied into a converging and almost insane plot.

Let me give the broad strokes of the plot. Duke Osrino is infatuated by Countess Olivia who wants nothing to do with him. Viola and Sebastian are twins who are separated in a shipwreck that has happened before the play began. Both are alive, but think the other dead. Viola sees the Duke and is attracted to him and wants to win him over, but cannot approach him as a woman from her station in life. So, she dresses as a man, Cesario, and offers her (his) services to the Duke. He is taken with this young man and uses him as a go between to help him win Olivia's heart.

When Cesario (Viola) approaches Countess Olivia, she dismisses the Duke's entreaties, but is taken with Cesario. She finds reasons to have Cesario return several times without furthering the Duke's intentions.

Malvolio, one of the Countess's stewards, is taken with her and flatters himself that she is interested in him despite his lowly station. Others in the Countess's entourage note this and forge a letter from Countess Olivia that expresses interest and asks him to dress in cross-gartered yellow stockings (which was, apparently, a ridiculous form of dress in the time of the play). He does and becomes the object of even more ridicule.

Viola's twin-brother, Sebastian, comes to town with the sea captain who had saved him, Antonio. In one of the several duels or near duels in the play, Viola as Cesario is being put upon by one of the play's foolish characters. Antonio steps in to save Sebastian, but it is really Viola as Cesario. In the meantime Sebastian has met Countess Olivia who takes him for Cesario. She is so smitten she makes a direct proposal of marriage to Sebastian (assuming he is Cesario). He, for some reason unknown to us, is so smitten upon meeting Olivia he accepts and they make an agreement to marry in front of a Priest.

Anyway, you get the idea and can assume that all is finally revealed and there is a happy ending for everyone, except poor Malvolio. And this summary says nothing of the delightful Clown, Sir Toby Belch, Sir Andrew Aguecheek, Fabian, or Maria.

This wonderful edition also has a wonderful opening essay (half the book), on the play's origins, textual problems, performance history, and performance issues. The appendices also include the likely source story for the play and the music for the songs sung in the play. There are also the usually wonderful textual helps and notes.

Fine edition of a wonderful play.