By William Shakespeare
Henry IV sits on a usurped throne, his moral sense and his nobles in rebellion, whereas his son Hal is immersed in a self-indulgent lifetime of revelry with the infamous Sir John Falstaff. Shakespeare explores questions of kingship and honor during this masterly mingling of heritage, comedy, and tragedy.
Under the editorial supervision of Jonathan Bate and Eric Rasmussen, of today's so much entire Shakespearean students, this contemporary Library sequence contains definitive texts and authoritative notes from William Shakespeare: entire Works. each one play comprises an creation in addition to an outline of Shakespeare's theatrical profession; observation on previous and present productions according to interviews with major administrators, actors, and architects; scene-by-scene research; key proof concerning the paintings; a chronology of Shakespeare's lifestyles and instances; and black-and-white illustrations.
Ideal for college kids, theater execs, and common readers, those smooth and obtainable versions from the Royal Shakespeare corporation set a brand new ordinary in Shakespearean literature for the twenty-first century.
Read or Download Henry IV, Part 1 (Modern Library Classics) PDF
Similar theatre books
"Fifty Key Theatre administrators covers the paintings of practitioners who've formed and driven again the limits of theatre and function. The authors offer transparent and insightful overviews of the methods and impression of 50 of the main influential administrators of the 20th and twenty-first century from around the globe.
Le nine décembre 1896, un jeune homme crée le scandale en faisant jouer au Théâtre de l'Oeuvre une farce truculente, Ubu roi. "Merdre! " Sitôt le most effective mot lâché, l. a. salle siffle, hue, rit, proteste : le public est insulté, les conventions théâtrales bousculées, le gruesome s'introduit dans le théâtre d'avant-garde.
Babylon ladies is a groundbreaking cultural historical past of the African American girls who played in style shows—chorus traces, burlesque revues, cabaret acts, and the like—between 1890 and 1945. via a attention of the gestures, costuming, vocal options, and stagecraft constructed by way of African American singers and dancers, Jayna Brown explains how those ladies formed the move and elegance of an rising city pop culture.
Greater than the other male superstar, the subtle Clifton Webb (1889-1966) prompted the movie-going public to alter its photograph of a number one guy. In an afternoon whilst prime males have been speculated to be robust, virile, and courageous, Clifton Webb projected a picture of turn, acerbic vanity. He was once capable of play every thing from a decadent columnist (Laura) to a fertile father (Cheaper by way of the Dozen and The awesome Mr.
Extra info for Henry IV, Part 1 (Modern Library Classics)
Five-act division is based on a classical model, and act breaks provided the opportunity to replace the candles in the indoor Blackfriars playhouse which the King’s Men used after 1608, but Shakespeare did not necessarily think in terms of a five-part structure of dramatic composition. The Folio convention is that a scene ends when the stage is empty. Nowadays, partly under the influence of film, we tend to consider a scene to be a dramatic unit that ends with either a change of imaginary location or a significant passage of time within the narrative.
POINS Tut! Our horses they shall not see: I’ll tie them in the wood. Our vizards we will change after we leave them. And, sirrah, I have cases of buckram for the nonce, to immask our noted outward garments. PRINCE HENRY But I doubt they will be too hard for us. POINS Well, for two of them, I know them to be as truebred cowards as ever turned back. And for the third, if he fight longer than he sees reason, I’ll forswear arms. The virtue of this jest will be the incomprehensible lies that this fat rogue will tell us when we meet at supper: how thirty at least he fought with, what wards, what blows, what extremities he endured; and in the reproof of this lies the jest.
A gallant prize? Ha, cousin, is it not? WESTMORLAND In faith, it is a conquest for a prince to boast of. KING HENRY IV Yea, there thou mak’st me sad and mak’st me sin In envy that my Lord Northumberland Should be the father of so blest a son: A son who is the theme of honour’s tongue; Amongst a grove, the very straightest plant, Who is sweet Fortune’s minion and her pride, Whilst I, by looking on the praise of him, See riot and dishonour stain the brow Of my young Harry. O, that it could be proved That some night-tripping fairy had exchanged In cradle-clothes our children where they lay, And called mine Percy, his Plantagenet: Then would I have his Harry, and he mine.