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An abridged version of Shakespeare's play, in which a party of nobles is washed ashore on a mystical island, summoned by a former noble turned magician.
While the notes should be useful to students at any grade level, the appended material, both introductory and supplementary, is marked by style and vocabulary making it suitable only for the most advanced and/or interested high school or undergraduate students. Among the appendices is a modern poem with no explanation for its inclusion, and no identification of the poet whose poem does allude to the The Tempest. One gets the impression of a mountain of unrelated three-by-five cards being used, with no effort to bridge them together. A long appendix titled "Classwork and Examination," which is a collection of very good ideas for teachers, is strangely addressed to students.
The cover features a fine color photograph of Sweden's Max Von Sydow as Prospero and Rudi Davies as Miranda, but one wonders if a picture of the young lovers or Caliban the monster would have been more appealing to young readers. Students could make good use of this book by ignoring most of the scholarly appendages and using the excellent footnotes to elucidate one of the most enjoyable of Shakespeare's profound works. Illus. Charts. Source Notes. Further Reading. Chronology. Appendix.
VOYA Codes: 2Q 2P S (Better editing or work by the author might have warranted a 3Q, For the YA rea
This version emphasizes first the love story between Miranda and Ferdinand and then Prospero's forgiveness of his enemies. Some of the subplots have been eliminated (for reasons given in a careful author's note), but several songs and speeches have been folded into the story, much of which is told in dialogue. Spirin's beautiful watercolors are done in the manner of Renaissance paintings, even to the effect of old varnish affecting the tones. The scenes echo the narrative's focus on the enchantments of the play, presenting beasts worthy of Hieronymous Bosch and gentle spirits to rival the angels of Botticelli. This gorgeous picture book will be particularly useful in high school collections, for the story in the art sets the stage for this Renaissance drama. Recommended for public and school libraries: Not only does it work as a read-alone story but will prepare theatergoers for a performance of the full play.
For the text of The Winter’s Tale our sole authority is the First Folio. In style and meter, tone and dramatic method, the play reveals itself as one of Shakespeare’s latest works. Perhaps it followed Cymbeline and preceded The Tempest.
On May 15, 1611, Simon Forman, astrologer and physician, saw The Winter’s Tale at the Globe. His summary of the plot, in his own handwriting, is still preserved. If either the bear (3.3.58) or the dance of satyrs (4.4.352) was suggested by Ben Jonson’s masque of Oberon, which was exhibited at court on the first day of that same year, the limits of composition are fixed with almost uncanny precision. The bear, however, is not a very trustworthy witness, even if Oberon’s chariot is drawn by two white bears. The evidence of the satyrs is more satisfactory, for three of Shakespeare’s “saltiers” had “danced before the king.” At all events, 1611 is a satisfactory date for The Winter’s Tale.
The source of the main plot is Robert Greene’s 1588 novel Pandosto: The Triumph of Time. Greene takes pains to describe the jealousy of Pandosto as to all intents and purposes insane. “A certain melancholy passion entering the mind of Pandosto drove him into sundry and doubtful [i.e. suspicious] thoughts.” These, “a long time smoothering in his stomach, began at last to kindle in his mind a secret mistrust, which increased by suspicion, grew at last to be a flaming jealousie, that so tormented him as he could take no rest.” These phrases accord with Shakespeare’s account of Leontes. He is not, as a modern critic has called him, “an irritable, suspicious, jealous-natured tyrant.” The whole atmosphere of the court—which is like a happy family—shows that he is no tyrant, and the perplexity of Hermione and Polixenes proves that he has never shown jealousy before. His paroxysm of jealous fury is virtually a fit of madness. It seizes him in a moment, and it releases him with equal suddenness. . . .
|Plan of the Work||ix|
|The Winter's Tale: Text, Textual Notes, and Commentary||1|
|Irregular, Doubtful, and Emended Accidentals in F1||567|
|The 1623 Version of The Winter's Tale||586|
|The F1 Copy||590|
|The Printer's Reliability||601|
|Subsequent Early Editions||601|
|The Date of Composition|
|Shakespeare's Use of Pandosto||656|
|Robert Greene's Cony-Catching Pamphlets||672|
|The Second and last Part of Conny-catching||673|
|The Thirde and last Part of Conny-catching||673|
|Francis Sabie's Poems||674|
|The Fissher-mans Tale||674|
|Possible Sources, Analogues, and Imitations||680|
|Themes and Significance||728|
|Nature (and Art)||730|
|Repentance and Renewal||738|
|Drame a Clef||742|
|Language and Style||753|
|Shepherd and Clown||797|
|The Winter's Tale on the Stage|
|Staging the Bear and Time||816|
|Screen and Sound Recordings||818|
|The Text on the Stage||819|
|Reshaping the Text||826|
|Substitutions, Transpositions, and Additions||840|
|Music in the Winter's Tale||851|
POLIXENES, King of BOHEMIA
FLORIZELL, his son
CAMILLO, a courtier, friend to Leontes and then to Polixenes ANTIGONUS, a Sicilian courtier
PAULINA, his wife and lady-in-waiting to Hermione
CLEOMENES courtier in Sicilia
DION courtier in Sicilia
EMILIA, a lady-in-waiting to Hermione
SHEPHERD, foster father to Perdita
AUTOLYCUS, former servant to Florizell, now a rogue ARCHIDAMUS, a Bohemian courtier
TIME, as Chorus
TWO LADIES attending on Hermione
LORDS, SERVANTS, and GENTLEMEN attending on Leontes
An OFFICER of the court
MOPSA shepherdess in Bohemia
DORCAS shepherdess in Bohemia
SERVANT to the Shepherd
SHEPHERDS and SHEPHERDESSES
Twelve COUNTRYMEN disguised as satyrs
Enter Camillo and Archidamus.
ARCHIDAMUS If you shall chance, Camillo, to visit Bohemia on the like occasion whereon my services are now on foot, you shall see, as I have said, great difference betwixt our Bohemia and your Sicilia.
CAMILLO I think this coming summer the King of Sicilia means to pay Bohemia the visitation which he justly owes him.
ARCHIDAMUS Wherein our entertainment shall shame us; we will be justified in our loves. For indeed --
CAMILLO Beseech you --
ARCHIDAMUS Verily, I speak it in the freedom of my knowledge. We cannot with such magnificence -- in so rare -- I know not what to say. We will give you sleepy drinks, that your senses, unintelligent of our insufficience, may, though they cannot praise us, as little accuse us.
CAMILLO You pay a great deal too dear for what's given freely.
ARCHIDAMUS Believe me, I speak as my understanding instructs me and as mine honesty puts it to utterance.
CAMILLO Sicilia cannot show himself over kind to Bohemia. They were trained together in their childhoods, and there rooted betwixt them then such an affection which cannot choose but branch now. Since their more mature dignities and royal necessities made separation of their society, their encounters, though not personal, hath been royally attorneyed with interchange of gifts, letters, loving embassies, that they have seemed to be together though absent, shook hands as over a vast, and embraced as it were from the ends of opposed winds. The heavens continue their loves.
ARCHIDAMUS I think there is not in the world either malice or matter to alter it. You have an unspeakable comfort of your young Prince Mamillius. It is a gentleman of the greatest promise that ever came into my note.
CAMILLO I very well agree with you in the hopes of him. It is a gallant child -- one that indeed physics the subject, makes old hearts fresh. They that went on crutches ere he was born desire yet their life to see him a man.
ARCHIDAMUS Would they else be content to die?
CAMILLO Yes, if there were no other excuse why they should desire to live.
ARCHIDAMUS If the King had no son, they would desire to five on crutches till he had one.
Posted March 10, 2014
Well, I wanted a version that would help me see how close the movie was to the actual story. I ordered the wrong version, as this was the actual stage written version, in the old English. very hard to understand, and confusing as after each set of conversations there were stage directions etc. not exactly what I wantedWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted August 10, 2011
Posted April 6, 2011
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Posted May 21, 2013
No text was provided for this review.