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King Lear (Folger Shakespeare Library) Paperback – October 20, 2015
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Shakespeare’s King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Lear himself rages until his sanity cracks. What, then, keeps bringing us back to King Lear? For all the force of its language, King Lear is almost equally powerful when translated, suggesting that it is the story, in large part, that draws us to the play.
The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. Emotions are extreme, magnified to gigantic proportions. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom—one reason this most devastating of Shakespeare’s tragedies is also perhaps his most moving.
This 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 the play’s 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
-Fresh images from the Folger Shakespeare Library’s vast holdings of rare books
-An annotated guide to further reading
Essay by Susan Snyder
The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
- Print length400 pages
- LanguageEnglish
- Publication dateOctober 20, 2015
- Dimensions5.5 x 0.9 x 8.38 inches
- ISBN-101501118110
- ISBN-13978-1501118111
- Lexile measureNP0L
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Editorial Reviews
About the Author
Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.
Paul Werstine is Professor of English at the Graduate School and at King’s University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare’s plays.
Excerpt. © Reprinted by permission. All rights reserved.
An Introduction to This Text
The play we call King Lear was printed in two different versions in the first quarter of the seventeenth century.
In 1608 appeared M. William Shak-speare: His True Chronicle Historie of the life and death of King Lear and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the Earle of Gloster, and his sullen and assumed humor of Tom of Bedlam. This printing
Product details
- Publisher : Simon & Schuster; Updated edition (October 20, 2015)
- Language : English
- Paperback : 400 pages
- ISBN-10 : 1501118110
- ISBN-13 : 978-1501118111
- Lexile measure : NP0L
- Item Weight : 13.6 ounces
- Dimensions : 5.5 x 0.9 x 8.38 inches
- Best Sellers Rank: #295,607 in Books (See Top 100 in Books)
- #221 in Comedic Dramas & Plays
- #279 in British & Irish Dramas & Plays
- #287 in Shakespeare Dramas & Plays
- Customer Reviews:
About the authors
Barbara A. Mowat (1934-2017) was the Director of Research Emerita at the Folger Shakespeare Library, consulting editor of Shakespeare Quarterly, and editor (with Paul Werstine) of the Folger Shakespeare Library editions of Shakespeare's works. Her major fields of research interest included Shakespeare’s dramatic romances, early modern printed dramatic texts, and Shakespeare’s reading practices. She received an M.A. degree in English literature from the University of Virginia, a Ph.D. in English literature from Auburn University, and Doctorates of Humane Letters from Amherst College, St. Johns University, and Washington College. Before coming to the Folger, she was Hollifield Professor of English Literature at Auburn University and then Dean of the College at Washington College. She served as president of the Shakespeare Association of America, president of the Southeast Renaissance Conference, chair of the MLA committee on the New Variorum Shakespeare, and was a member of the advisory board of the International Shakespeare Conference.
Paul Werstine is professor of English at King’s University College at Western University, a member of the graduate faculty at the University, editor (with Barbara A. Mowat) of the Folger Shakespeare Library editions of Shakespeare's works, and general editor (with Richard Knowles of the University of Wisconsin–Madison and Eric Rasmussen of the University of Nevada--Reno) of the New Variorum Shakespeare, published by the Modern Language Association, for which he is preparing the volume on Romeo and Juliet. He has written extensively about the transmission of early modern English dramatic texts in manuscript and into print, and about the history of editing Shakespeare, including Early Modern Playhouse Manuscripts and The Editing of Shakespeare (Cambridge, 2012). Dr. Werstine holds an M.A. degree in English literature from Western University and a Ph.D. in English literature from the University of South Carolina.
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The motif of "nothing," "nothingness" is hammered throughout the play. Having given away his love and receiving none from his remaining daughters Lear becomes 'nothing,' ontologically empty ("Lear's shadow"). Edgar, likewise experiences his rejection by his father - on faulty and conspiratorial premises - as an annihilation of his being ("Edgar I nothing am"). "He childed like I fathered," says Edgar of his godfather Lear. The comparison is that between two egos who know only the need to love and have been annihilated by the rejections they have experienced from the individuals whom they love. Edgar's transformation into Tom of Bedlam is not only a practical disguise but an acting out of this loss of identity (consider that he continues to use mad Tom's vocal mannerisms even in soliliquy [III.vii.126]) and his refusal to reveal himself to his father perhaps until he is ready to undertake an act which will justify his being loved again (III.vii. 121-124).
Those who love give away all; those who feel no love take everything in order to make up for the emptiness. Edmund, Regan, Goneril and Cornwall seem always conscious of their desire to conquer even more power. Yet those who suffer hardship in this play seem to react in two ways - 1) they experience *ever increasing degrees of empathy,* by which they commit themselves to the relief of others through acts of, and belief in, social justice, and 2) they *imagine a system of divine justice,* by which they attempt to reconcile themselves to what's been lost. Edgar testifies that he has witnessed madmen, buffeted by nature, threatening others to do them enforced "charity" by piercing their own numbed arms in terrifying display. We have just seen such a thing occur with Edmund in Act II, scene i. We also know that he has called upon Nature as his goddess. Thus what we have here (like 'the Turk' in "Othello") is a rare Shakespearean metaphor: Edmund is Nature. King Lear's own pronouncement to the howling storm on the heath - "Nor rain, wind, thunder, fire, are my daughters... I never gave you kingdom, call'd you children/ You owe me no subscription: then, let fall/ Your horrible pleasure" further illustrates the point. In "King Lear," Nature is the lack of love. It is loveless and existential. It is godless; god and the astrological being an ego defense. It is "nothing."
The poetry of "King Lear" is magnificent, perhaps not quite achieving the measureless heights of "Macbeth" or "Othello," but sonorous and extraordinarily beautiful. The two feuding brothers, Edgar and Edmund, are among Shakespeare's most profound creations. The Duke of Cornwall is one of his great monsters. And King Lear is one of his most tragic heroes. The Folgers editions conflates the Quarto and Folio editions. This is common practice for Shakespeare but both versions are so different (Shakespeare died before he could edit his complete ouvre for publication) that many editors have recommended to their readers that they embrace either one or the other. I personally would not recommend this since I think thematically the work is more difficult to interpret without the combining of a few lines found in only one or the other of the two editions (Q's "He childed like I fathered," not found in F, goes a long way towards explaining Edgar's character). There are so many classic scenes in this masterpiece of masterpiece, and so much characterization filled with insight and wisdom, and subtlety in its construction and beauty in its poetry, that reading or re-reading this play is an experience quite unlike any other. It is *the* major work by one of *the* major artists in world culture.
As for the actual physical product, I am very pleased with it. Everything about it is of high quality, and it feels wonderful in your hands. The size is much larger than the typical Folger Shakespeare release, allowing the text to be easily read and ample room for annotations. I would definitely recommend this specific edition to any student (in college or, like myself, high school) wanting a nice copy of King Lear for yourself to read and study. Of course, if you are only looking for a copy to read for pleasure, this is excellent for that purpose as well.
The accompanying essays are very interesting and insightful, but I believe they are also available with the smaller Folger edition, so they should not be the deciding factor in purchasing this more expensive edition over the smaller, less expensive one.
Overall, this is a very well-made product. The cover and pages are high quality, and the book is a pleasure to hold. Highly recommended!
Reviewed in the United States on December 13, 2022
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Reviewed in India on October 12, 2022
Encadernação ruim, tinta de baixa qualidade, notas com poucas informações sobre as peças, papel ruim (10 reais seria um bom preço para o produto, não 20-50). Melhor tentar as edições já famosas: Norton, Arden, Oxford (na versão individual, comentada), Riverside etc.
In my DVD collection, I have two productions of ‘King Lear’. One is with Ian Helm and the other with John Gielgud. I find the Gielgud production much the superior. Ian Helm’s Lear shouts at the beginning of the play, shouts in the middle of the play and shouts at the end of the play. There is no emotional development in his Lear. Lear’s descent into madness and his recovery from is masked by constant shouting. The Gielgud Lear is quite different. There is the development from narcissistic certainty to puzzlement that others are not as he sees them to a refuge from these contradictions in irrationality. For me anyway, the power of the play resides in this emotional journey. And the Gielgud production captures that. The depiction of the madness of Lear as a refuge from emotional pain is true to the nature of mental illness.
Lear has been understood as a redemption story. Lear overcomes his narcissism and finds his true relationship with his daughter Cordelia. But with this, how are we to understand Cordelia’s murder. Why was she to die. For me, the redemption in the play is not just that of Lear but of society as a whole. It is not a redemption that has been accomplished but a redemption that can be hoped for. Both Lea and Cordelia die but the Duke of Albany lives and rejects the ambition of Edmund and the sisters to rule the state on moral and legal lines. Earlier in Act 4 Scene 6, Lear, in his madness, describes the functioning of society. Authority is this society works for its own interest. Its basis is its hypocrisy.
==================
And the creature run from the cur? There thou
mightst behold the great image of authority: a
dog's obeyed in office.
Thou rascal beadle, hold thy bloody hand!
Why dost thou lash that whore? Strip thine own back;
Thou hotly lust'st to use her in that kind
For which thou whipp'st her. The usurer hangs the cozener.
Through tatter'd clothes small vices do appear;
Robes and furr'd gowns hide all. Plate sin with gold,
And the strong lance of justice hurtless breaks:
Arm it in rags, a pigmy's straw does pierce it.
None does offend, none, I say, none; I'll able 'em:
Take that of me, my friend, who have the power
To seal the accuser's lips. Get thee glass eyes;
And like a scurvy politician, seem
To see the things thou dost not. Now, now, now, now:
Pull off my boots: harder, harder: so.
===========================
Sin plated with gold goes unpunished. Kings abandon their duties and revel in frivolity. Their countries are racked by civil wars. Edmund and the sisters die, and Albany succeeds to the throne. There is hope that the rulers can reject their personal ambition. Perhaps society can be redeemed.