King Lear (Folger Shakespeare Library Series)

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FOLGER Shakespeare Library
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Each edition includes:
• Freshly edited text based on the best early printed version of ...

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King Lear

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Overview

FOLGER Shakespeare Library
The world's leading center for Shakespeare studies
Each edition includes:
• Freshly edited text based on the best early printed version of the play
• Full explanatory notes conveniently placed on pages facing the text of the play
• Scene-by-scene plot summaries
• A key to famous lines and phrases
• An introduction to reading Shakespeare's language
• An essay by a leading Shakespeare scholar providing a modern perspective on the play
• Illustrations from the Folger Shakespeare Library's vast holdings of rare books
Essay by Susan Snyder
The Folger Shakespeare Library in Washington, D.C., is home to theworld's largest collection of Shakespeare's printed works, and a magnet forShakespeare scholars from around the globe. In addition to exhibitions open tothe public throughout the year, the Folger offers a full calendar of performancesand programs. For more information, visit www.folger.edu

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Product Details

  • ISBN-13: 9780743482769
  • Publisher: Simon & Schuster
  • Publication date: 12/23/2003
  • Series: Folger Shakespeare Library Series
  • Format: Mass Market Paperback
  • Pages: 384
  • Sales rank: 38,564
  • Product dimensions: 4.19 (w) x 6.75 (h) x 1.00 (d)

Meet the Author

William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—their older daughter Susanna and the twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent, not in Stratford, but in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright, but as an actor and shareholder in an acting company. Sometime between 1610 and 1613, Shakespeare is thought to have retired from the stage and returned home to Stratford, where he died in 1616.

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Read an Excerpt


Shakespeare's Life

Surviving documents that give us glimpses into the life of William Shakespeare show us a playwright, poet, and actor who grew up in the market town of Stratford-upon-Avon, spent his professional life in London, and returned to Stratford a wealthy landowner. He was born in April 1564, died in April 1616, and is buried inside the chancel of Holy Trinity Church in Stratford.

We wish we could know more about the life of the world's greatest dramatist. His plays and poems are testaments to his wide reading -- especially to his knowledge of Virgil, Ovid, Plutarch, Holinshed's Chronicles, and the Bible -- and to his mastery of the English language, but we can only speculate about his education. We know that the King's New School in Stratford-upon-Avon was considered excellent. The school was one of the English "grammar schools" established to educate young men, primarily in Latin grammar and literature. As in other schools of the time, students began their studies at the age of four or five in the attached "petty school," and there learned to read and write in English, studying primarily the catechism from the Book of Common Prayer. After two years in the petty school, students entered the lower form (grade) of the grammar school, where they began the serious study of Latin grammar and Latin texts that would occupy most of the remainder of their school days. (Several Latin texts that Shakespeare used repeatedly in writing his plays and poems were texts that schoolboys memorized and recited.) Latin comedies were introduced early in the lower form; in the upper form, which the boys entered at age ten or eleven, students wrote their own Latin orations and declamations, studied Latin historians and rhetoricians, and began the study of Greek using the Greek New Testament.

Since the records of the Stratford "grammar school" do not survive, we cannot prove that William Shakespeare attended the school; however, every indication (his father's position as an alderman and bailiff of Stratford, the playwright's own knowledge of the Latin classics, scenes in the plays that recall grammar-school experiences -- for example, The Merry Wives of Windsor, 4.1) suggests that he did. We also lack generally accepted documentation about Shakespeare's life after his schooling ended and his professional life in London began. His marriage in 1582 (at age eighteen) to Anne Hathaway and the subsequent births of his daughter Susanna (1583) and the twins Judith and Hamnet (1585) are recorded, but how he supported himself and where he lived are not known. Nor do we know when and why he left Stratford for the London theatrical world, nor how he rose to be the important figure in that world that he had become by the early 1590s.

We do know that by 1592 he had achieved some prominence in London as both an actor and a playwright. In that year was published a book by the playwright Robert Greene attacking an actor who had the audacity to write blank-verse drama and who was "in his own conceit [i.e., opinion] the only Shake-scene in a country." Since Greene's attack includes a parody of a line from one of Shakespeare's early plays, there is little doubt that it is Shakespeare to whom he refers, a "Shake-scene" who had aroused Greene's fury by successfully competing with university-educated dramatists like Greene himself. It was in 1593 that Shakespeare became a published poet. In that year he published his long narrative poem Venus and Adonis; in 1594, he followed it with The Rape of Lucrece. Both poems were dedicated to the young earl of Southampton (Henry Wriothesley), who may have become Shakespeare's patron.

It seems no coincidence that Shakespeare wrote these narrative poems at a time when the theaters were closed because of the plague, a contagious epidemic disease that devastated the population of London. When the theaters reopened in 1594, Shakespeare apparently resumed his double career of actor and playwright and began his long (and seemingly profitable) service as an acting-company shareholder. Records for December of 1594 show him to be a leading member of the Lord Chamberlain's Men. It was this company of actors, later named the King's Men, for whom he would be a principal actor, dramatist, and shareholder for the rest of his career.

So far as we can tell, that career spanned about twenty years. In the 1590s, he wrote his plays on English history as well as several comedies and at least two tragedies (Titus Andronicus and Romeo and Juliet). These histories, comedies, and tragedies are the plays credited to him in 1598 in a work, Palladis Tamia, that in one chapter compares English writers with "Greek, Latin, and Italian Poets." There the author, Francis Meres, claims that Shakespeare is comparable to the Latin dramatists Seneca for tragedy and Plautus for comedy, and calls him "the most excellent in both kinds for the stage." He also names him "Mellifluous and honey-tongued Shakespeare": "I say," writes Meres, "that the Muses would speak with Shakespeare's fine filed phrase, if they would speak English." Since Meres also mentions Shakespeare's "sugared sonnets among his private friends," it is assumed that many of Shakespeare's sonnets (not published until 1609) were also written in the 1590s.

In 1599, Shakespeare's company built a theater for themselves across the river from London, naming it the Globe. The plays that are considered by many to be Shakespeare's major tragedies (Hamlet, Othello, King Lear, and Macbeth) were written while the company was resident in this theater, as were such comedies as Twelfth Night and Measure for Measure. Many of Shakespeare's plays were performed at court (both for Queen Elizabeth I and, after her death in 1603, for King James I), some were presented at the Inns of Court (the residences of London's legal societies), and some were doubtless performed in other towns, at the universities, and at great houses when the King's Men went on tour; otherwise, his plays from 1599 to 1608 were, so far as we know, performed only at the Globe. Between 1608 and 1612, Shakespeare wrote several plays -- among them The Winter's Tale and The Tempest -- presumably for the company's new indoor Blackfriars theater, though the plays seem to have been performed also at the Globe and at court. Surviving documents describe a performance of The Winter's Tale in 1611 at the Globe, for example, and performances of The Tempest in 1611 and 1613 at the royal palace of Whitehall.

Shakespeare wrote very little after 1612, the year in which he probably wrote King Henry VIII. (It was at a performance of Henry VIII in 1613 that the Globe caught fire and burned to the ground.) Sometime between 1610 and 1613 he seems to have returned to live in Stratford-upon-Avon, where he owned a large house and considerable property, and where his wife and his two daughters and their husbands lived. (His son Hamnet had died in 1596.) During his professional years in London, Shakespeare had presumably derived income from the acting company's profits as well as from his own career as an actor, from the sale of his play manuscripts to the acting company, and, after 1599, from his shares as an owner of the Globe. It was presumably that income, carefully invested in land and other property, which made him the wealthy man that surviving documents show him to have become. It is also assumed that William Shakespeare's growing wealth and reputation played some part in inclining the crown, in 1596, to grant John Shakespeare, William's father, the coat of arms that he had so long sought. William Shakespeare died in Stratford on April 23, 1616 (according to the epitaph carved under his bust in Holy Trinity Church) and was buried on April 25. Seven years after his death, his collected plays were published as Mr. William Shakespeares Comedies, Histories, & Tragedies (the work now known as the First Folio).

The years in which Shakespeare wrote were among the most exciting in English history. Intellectually, the discovery, translation, and printing of Greek and Roman classics were making available a set of works and worldviews that interacted complexly with Christian texts and beliefs. The result was a questioning, a vital intellectual ferment, that provided energy for the period's amazing dramatic and literary output and that fed directly into Shakespeare's plays. The Ghost in Hamlet, for example, is wonderfully complicated in part because he is a figure from Roman tragedy -- the spirit of the dead returning to seek revenge -- who at the same time inhabits a Christian hell (or purgatory); Hamlet's description of humankind reflects at one moment the Neoplatonic wonderment at mankind ("What a piece of work is a man!") and, at the next, the Christian disparagement of human sinners ("And yet, to me, what is this quintessence of dust?").

As intellectual horizons expanded, so also did geographical and cosmological horizons. New worlds -- both North and South America -- were explored, and in them were found human beings who lived and worshiped in ways radically different from those of Renaissance Europeans and Englishmen. The universe during these years also seemed to shift and expand. Copernicus had earlier theorized that the earth was not the center of the cosmos but revolved as a planet around the sun. Galileo's telescope, created in 1609, allowed scientists to see that Copernicus had been correct; the universe was not organized with the earth at the center, nor was it so nicely circumscribed as people had, until that time, thought. In terms of expanding horizons, the impact of these discoveries on people's beliefs -- religious, scientific, and philosophical -- cannot be overstated.

London, too, rapidly expanded and changed during the years (from the early 1590s to around 1610) that Shakespeare lived there. London -- the center of England's government, its economy, its royal court, its overseas trade -- was, during these years, becoming an exciting metropolis, drawing to it thousands of new citizens every year. Troubled by overcrowding, by poverty, by recurring epidemics of the plague, London was also a mecca for the wealthy and the aristocratic, and for those who sought advancement at court, or power in government or finance or trade. One hears in Shakespeare's plays the voices of London -- the struggles for power, the fear of venereal disease, the language of buying and selling. One hears as well the voices of Stratford-upon-Avon -- references to the nearby Forest of Arden, to sheepherding, to small-town gossip, to village fairs and markets. Part of the richness of Shakespeare's work is the influence felt there of the various worlds in which he lived: the world of metropolitan London, the world of small-town and rural England, the world of the theater, and the worlds of craftsmen and shepherds.

That Shakespeare inhabited such worlds we know from surviving London and Stratford documents, as well as from the evidence of the plays and poems themselves. From such records we can sketch the dramatist's life. We know from his works that he was a voracious reader. We know from legal and business documents that he was a multifaceted theater man who became a wealthy landowner. We know a bit about his family life and a fair amount about his legal and financial dealings. Most scholars today depend upon such evidence as they draw their picture of the world's greatest playwright. Such, however, has not always been the case. Until the late eighteenth century, the William Shakespeare who lived in most biographies was the creation of legend and tradition. This was the Shakespeare who was supposedly caught poaching deer at Charlecote, the estate of Sir Thomas Lucy close by Stratford; this was the Shakespeare who fled from Sir Thomas's vengeance and made his way in London by taking care of horses outside a playhouse; this was the Shakespeare who reportedly could barely read but whose natural gifts were extraordinary, whose father was a butcher who allowed his gifted son sometimes to help in the butcher shop, where William supposedly killed calves "in a high style," making a speech for the occasion. It was this legendary William Shakespeare whose Falstaff (in 1 and 2 Henry IV) so pleased Queen Elizabeth that she demanded a play about Falstaff in love, and demanded that it be written in fourteen days (hence the existence of The Merry Wives of Windsor). It was this legendary Shakespeare who reached the top of his acting career in the roles of the Ghost in Hamlet and old Adam in As You Like It -- and who died of a fever contracted by drinking too hard at "a merry meeting" with the poets Michael Drayton and Ben Jonson. This legendary Shakespeare is a rambunctious, undisciplined man, as attractively "wild" as his plays were seen by earlier generations to be. Unfortunately, there is no trace of evidence to support these wonderful stories.

Perhaps in response to the disreputable Shakespeare of legend -- or perhaps in response to the fragmentary and, for some, all-too-ordinary Shakespeare documented by surviving records -- some people since the mid-nineteenth century have argued that William Shakespeare could not have written the plays that bear his name. These persons have put forward some dozen names as more likely authors, among them Queen Elizabeth, Sir Francis Bacon, Edward de Vere (earl of Oxford), and Christopher Marlowe. Such attempts to find what for these people is a more believable author of the plays is a tribute to the regard in which the plays are held. Unfortunately for their claims, the documents that exist that provide evidence for the facts of Shakespeare's life tie him inextricably to the body of plays and poems that bear his name. Unlikely as it seems to those who want the works to have been written by an aristocrat, a university graduate, or an "important" person, the plays and poems seem clearly to have been produced by a man from Stratford-upon-Avon with a very good "grammar-school" education and a life of experience in London and in the world of the London theater. How this particular man produced the works that dominate the cultures of much of the world almost four hundred years after his death is one of life's mysteries -- and one that will continue to tease our imaginations as we continue to delight in his plays and poems.

Copyright © 2003 by The Folger Shakespeare Library

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Customer Reviews

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( 111 )
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See All Sort by: Showing 1 – 20 of 111 Customer Reviews
  • Posted November 28, 2009

    An excellent edition of Lear!

    This review is not of King Lear itself (one of my two favorite Shakespeare plays, with the other being Othello), but rather on this edition of Lear (ISBN: 9781411400795), which was edited by Andrew Hadfield and David Scott Kastan.

    I read a lot of heavily annotated books, and I have to say that the Barnes & Noble Shakespeare editions have one of the best book designs I've ever encountered. The various references materials (footnotes and definitions for archaic words) appear in a manner that makes the text very easy to follow.

    The scholarship is also top-notch. The annotations give you enough to make things clear without insulting your intelligence, or without overburdening you with unnecessary detail. The essays are also interesting and informative.

    I've been avoiding Shakespeare ever since high school, which was many years ago. Now that I'm reading him again, I'm glad I'm in such good hands. It is making the experience a joy, rather than a chore.

    My compliments to the editors and the book designer. They have done a superior job of making this difficult text accessible to the modern reader. Highly recommended.

    10 out of 11 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted August 29, 2009

    Lear doesn't need a review from me, but the B&N edition does.

    The Barnes and Noble edition of the plays are my favorites to read. The format of the books is great. No jumping around to read the footnotes and text explanatory notes unless I want to. The play speaks for itself and has for hundreds of years. I highly recommend all the B&N editions of his plays.

    5 out of 5 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 1, 2009

    Excellent Edition

    The Barnes & Noble Shakespeare editions are my favorites. The font and clean layout make them very readable and the notes are helpful without being distracting to the eye or burdensome to read. They are also very reasonably priced!

    4 out of 4 people found this review helpful.

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  • Anonymous

    Posted May 19, 2013

    Excellent edition

    The Barnes and Noble team did a fantastic job here. The play - one of Shakespeare's best tragedies - is well-annotated and free from the crumminess inherent to the cheap Shakespeare editions that can be found on the Nook.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted September 15, 2012

    Poor Edition

    Great play, this edition has been the victiom of the google books project & so contains glaring typographical errors.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted December 19, 2000

    wonderful!!!!!

    I loved the language! I loved how it all came together at the end. It was kind of suspenseful. I love Shakespeare.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted January 18, 2013

    Typo errors

    The actual play
    Is much interesting but with the errors of the spelling it made it reaally boringgg no wonder its for free

    1 out of 1 people found this review helpful.

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  • Posted February 21, 2010

    more from this reviewer

    I Also Recommend:

    One of Shakespeare's Finest

    This is one of my favorite Shakespearean plays. Its challenging but a great read!

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 2, 2007

    yah i read --

    king lear is awsome -- thought i didnt read the book -- i did hear an a audio tape -- i got it cuz i was interested in it after a 'just shoot me' eposide -- its been one of my meny favertiot books sence (excuse mey spelling please)

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted July 30, 2003

    'A Powerful.. Electrifying.. Brilliant.. and classicly heart-wrenching play'

    King Lear is William Shakespeare's most magnificent and deliciously diabolical plays of ingratitude, the intoxicating promise of power and position, and the ultimate sacrifice of love. Lear's two daughters Regan and Goneril are two monstrously malevolant women of Britain who perpetuate their father's decreasing sanity, in order to maintain power in Britain. Lear's youngest daughter Cordelia, a compassionate, loyal, kind, and wonderfully woman who is a trememdous contrast to her evil sisters Goneril and Regan. Cordelia is, an angel of goodness who is a spectacular influence and characterization of what a daughter should give and mention to her father, not out of appetite but out of conscience. The line between good and evil is faultlessly drawn in this spectacular play by one of the most ingenious writers of the human condition who ever lived.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 25, 2000

    Fate and Shakespearean Tragedy

    So I'm not exactly a Shakespeare scholar, but I still loved this tragedy. I think it's one of the best one, and it's a pity so few are put on live action show (the recent Hamlet,Henry V,Richard III,Midsummer Night's Dream, and other movies were great!). Unfortunately, some complain that it is not an official 'tragedy' because, according to A.C. Bradley, who's supposed to be some real genius, requires that Fate have little to do with any good tragedy...Yet King Lear DOES include Fate (cf. Gloucester's laments about the gods playing with human lives). So much of it that I think it's one of the main themes of the play. Unlike Bradley, I think this inevitability only INTENSES the depressing mood of the play, and to people suffering from chronic depression (like myself), the play really speaks out. Generational gaps and treatment of seniors are very relevant to our society, yet the question of Fate and the great tragedy that life can sometimes end up to be cannot be ignored in this one of Shakespeare's greatest plays. I mean, it IS a tragedy right???

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted September 2, 2014

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  • Anonymous

    Posted June 13, 2014

    Bree

    She sighs. "Meeeehhhhh."

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  • Anonymous

    Posted April 22, 2014

    Daisuke

    * smiied weak. As he picks up the sword and limps to All too human. He holds his bleeding side and falls repeadetly but stands. *

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  • Anonymous

    Posted April 22, 2014

    Kai

    * holds his sword and coughs blood. He collapses bleeing from the chidori hole. The sword slides by Daisuke and blood pours around kai. *

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  • Anonymous

    Posted April 18, 2014

    To all here

    What clan is this? If anyone reads this, join Darkclan at othello all results!!!

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  • Anonymous

    Posted April 9, 2014

    Frogstar

    Eats a vole.

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  • Anonymous

    Posted April 9, 2014

    Darkstorm

    The midnight blavk tabby pads in.

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  • Anonymous

    Posted April 9, 2014

    Dunetail

    Her golden pelt stood out in the moonlight.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted April 7, 2014

    Duant

    Well aware of dat...

    Was this review helpful? Yes  No   Report this review
See All Sort by: Showing 1 – 20 of 111 Customer Reviews

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