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HarperCollins Dreamkeepers
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Arden Bedstead
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Arden Headboard
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Arden Shakespeare Othello: Third Series (Arden Shakespeare S.)
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A & C Black Arden of Feversham (New Mermaid S.)
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authorsonline.co.uk A Man of Many Parts
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Michael Ducarel Enoch Arden
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Free Association Books Midwifery of the Soul: Holistic Perspective on Psychoanalysis
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Penguin Books Ltd Whatever You Think, Think The Opposite
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W W Norton & Co Ltd Arden of Faversham
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Immanion Press The Translation of Bastian Test
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McFarland & Company Oscar Wilde in Quotation: 3,100 Insults, Anecdotes and Aphorisms, Topically Arranged with Attributions
Pages: 239, Paperback, McFarland & Company
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Arden Shakespeare Cymbeline (Arden Shakespeare: Second S.)
One of Shakespeare's most perplexing and unclassifiable late plays, <I>Cymbeline</I> is often labelled a Romance, due to its themes of pastoralism, exile and familial reconciliation which critics notice recur throughout Shakespeare's last plays, from <I>Pericles</I> to <I>The Tempest</I>. Set in ancient Roman Britain at the court of the British king Cymbeline, the main action of the play revolves around the relationship between Cymbeline's daughter, Imogen, and Posthumous Leonatus. Attempting to marry Imogen off to Cloten, the grotesque son of Cymbeline's second wife, the king banishes Posthumous in a rage when he discovers he has secretly married Imogen. As the personal relationships in the play deteriorate, on the public stage Rome prepares to invade Britain due to Cymbeline's failure to pay tribute to his imperial master. As the play builds to its militaristic climax, Posthumous returns to Britain, where he eventually contrives a reunion with Imogen and Cymbeline's long-lost sons, who unite in their attempt to resist the might of Rome. <p> The ending of the play, with its series of mystical riddles, unlikely coincidences and extraordinary reunions has baffled critics for centuries. Some read it as a heavy-handed political allegory of Jacobean national union under the new sovereign of the time, King James I, whilst others see in it Shakespeare pushing theatrical realism to its furthermost limits, with its decapitated bodies, complex staging and unlikely mistaken identities. <I>Cymbeline</I> remains a puzzling, enigmatic play. --<I>Jerry Brotton</I>
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Arden Shakespeare Timon of Athens (Arden Shakespeare: Second S.)
A messy, uneven and disillusioned play, <I>Timon of Athens</I> is rarely studied or performed because of scepticism regarding both its authorship and completion. Like <I>Pericles</I> there seems little doubt that Shakespeare wrote the majority, but quite what he was trying to do is another matter.<p> Timon of Athens is rich and generous, happy to provide his friends, servants and acquaintances with money whenever they require it. Only the cynical Apemantus questions the soundness of Timon's actions, and the motives of his supposed friends, wondering at what a number of men eats Timon, and he sees 'em not. It grieves me to see so many dip their meat in one man's blood. When Timon's creditors ask for payment of their loans, Timon goes to his friends, but they all refuse to help him. Even worse, Timon's one loyal friend Alcibiades is exiled from Athens. After renouncing all his friends at one last banquet, Timon retires to a misanthropic life as a hermit in a cave. As he rails against yellow, glittering precious gold, he completely renounces mankind, to die alone in his cave, his epitaph claiming that Here lie I, Timon, who alive / All living men did hate. One of Shakespeare's more puzzling plays, <I>Timon of Athens</I> is unusually bleak and unforgiving, with Timon behaving like an unsympathetic version of Lear (they were both written within a couple of years of each other). --<I>Jerry Brotton</I>
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Arden Shakespeare The Arden Dictionary of Shakespeare Quotations
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Insomniac Press I'll Tell You One Damn Thing, and That's All I Know!
Pages: 198, Paperback, Insomniac Press
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Arden Shakespeare All's Well That Ends Well (Arden Shakespeare: Second S.)
<I>All's Well That Ends Well</I> has generally been considered one of Shakespeare's most difficult and unpopular plays. Labelled a Problem Comedy, editors believe that the play was written between 1604 and 1605, and exhibits a darkening of Shakespeare's interest in comedy. The play deals with the complicated relationship between Helena, the daughter of a famous physician, and Bertram, the arrogant son of the Countess of Roussillon. Helena is secretly in love with Bertram, and when she miraculously cures the ailing King, she asks for Bertram's hand in marriage, to which the grateful sovereign happily agrees. Bertram bitterly opposes marriage to Helena, who he regards as a social inferior. After reluctantly agreeing to the marriage, Bertram flees to the wars in Italy with his companion Parolles. <p> What ensues is Helena's increasingly desperate and complex attempts to retrieve her errant husband, which involves various machinations and a piece of mistaken identity and an infamous bed-trick which has never fully convinced audiences or critics. More recently critics have been kinder to the play, seeing its cynical disillusionment with romance as reflecting contemporary social and political anxieties about warfare and commerce, and feminist critics have been keen to celebrate Helena as a particularly complex heroine. The play is also fascinated by language, encapsulated in the character of Parolles (or words), and his memorable line for which the play is chiefly remembered: Simply the thing I am / Shall make me live. --<I>Jerry Brotton</I>
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Arden Shakespeare King Henry V (Arden Shakespeare S.)
Pages: 430, Paperback, Arden Shakespeare
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Arden Shakespeare Romeo and Juliet (Arden Shakespeare: Second S.)
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Arden Shakespeare Arden Shakespeare: Twelfth Night: Second Series
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Arden Shakespeare Merchant of Venice (Arden Shakespeare S.)
Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Shylock's impassioned plea in the middle of <I>The Merchant of Venice</I> is one of its most dramatic moments. After the Holocaust, the play has become a battleground for those who argue that the play represents Shakespeare's ultimate statement against ignorance and anti-Semitism in favour of a liberal vision of tolerance and multiculturalism. Other critics have pointed out that the play is, after all, a comedy that ultimately pokes fun at a 16th-century Jew. In fact, the bare outline of the plot suggests that the play is far more complex than either of these characterisations. Bassanio, a feckless young Venetian, asks his wealthy friend, the merchant Antonio, for money to finance a trip to woo the beautiful Portia in Belmont. Reluctant to refuse his friend (to whom he professes intense love), Antonio borrows the money from the Jewish moneylender. If he reneges on the deal, Shylock jokingly demands a pound of his flesh. When all Antonio's ships are lost at sea, Shylock calls in his debt, and the love and laughter of the first scenes of the play threaten to give way to death and tragedy. The final climactic courtroom scene, complete with a cross-dressed Portia, a knife-wielding Shylock, and the debate on the quality of mercy is one of the great dramatic moments in Shakespeare. The controversial subject matter of the play ensures that it continues to repel, divide but also fascinate its many audiences. --<I>Jerry Brotton</I>
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Arden Shakespeare King Henry VI: Pt. 3 (Arden Shakespeare: Third S.)
This second part of the history of Henry VI begins where <I>Henry VI Part One</I> ends. The Wars of the Roses between the Houses of York and Lancaster are in full swing, whilst intrigue at court becomes even more intense. Henry's wife, Margaret of Anjou takes centre stage with her lover Suffolk, conspiring against Henry's uncle, Gloucester, claiming that his wife is in league with a coven of witches. The Duke of York also plots against the ineffectual Henry, encouraging a people's revolt led by the memorable figure of Jack Cade, and then taking to the field himself. At the Battle of St. Albans, York's son Richard, the future King Richard III, kills Gloucester, leaving the Yorkist faction in the ascendancy.<p>A violent and chaotic play, <I>Henry VI Part Two</I> shows much of Shakespeare's early dramatic inexperience. Much of the verse, and many of the minor characters are undifferentiated. However, both Margaret of Anjou and Jack Cade are fascinating early characterisations which foreshadow some of Shakespeare's greatest subsequent tragic figures. --<I>Jerry Brotton</I>
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Arden Shakespeare Poems (Arden Shakespeare: Second S.)
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Arden Shakespeare Measure for Measure (Arden Shakespeare: Second S.)
Pages: 203, Paperback, Arden Shakespeare
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Arden Shakespeare King Richard II (Arden Shakespeare: Third S.)
Pages: 528, Paperback, Arden Shakespeare
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Robson Books Ltd Oops, Pardon, Mrs Arden!: An Embarrassment of Domestic Catchphrases
Pages: 160, Hardcover, Robson Books Ltd
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Arden Shakespeare Macbeth (Arden Shakespeare S.)
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Arden Shakespeare Antony and Cleopatra (Arden Shakespeare: Third S.)
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Arden Shakespeare Arden Shakespeare: the Two Noble Kinsmen: Third Series (Arden Shakespeare S.)
Shakespeare's last dramatic work, <I>Two Noble Kinsmen</I> has often been marginalised by editors who believe that Shakespeare was just one of its many writers. This does a disservice to what is a fascinating and haunting play. The two noble kinsmen of the play's title are Palamon and his cousin Arcite, Thebans who have sworn a vow of friendship until death, claiming, Is there record of any two that loved/Better than we do? King Theseus of Athens leads an invasion against Thebes, and returns to Athens with the two cousins, who both fall in love with Princess Emilia, Theseus' sister-in-law. Both become rivals for Emilia's hand, incurring the wrath of Theseus. The action moves to the forest, where Palamon and Arcite prepare to duel over Emilia, only to be interrupted by Theseus, who delays the duel for one month, commanding that whoever wins the duel will marry Emilia, whilst the loser will be executed. On the day Arcite defeats Palamon, but is then crushed under his own horse. As he dies he bequeaths Emilia's hand to his cousin. The play ends with their wedding ceremony. <I>Two Noble Kinsmen</I> concludes with a note of resignation, as Theseus says Let us be thankful/For that which is, and with you leave dispute/That are above our question, but as always, it is dangerous to see this as Shakespeare pronouncing on life itself, or simply another character in one of his plays voicing a particularly elegiac viewpoint on the sad events portrayed. --<I>Jerry Brotton</I>
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Arden Shakespeare Troilus and Cressida (Arden Shakespeare: Third S.)
One of Shakespeare's most notoriously difficult and cynical plays, labelled a Problem Comedy, <I>Troilus and Cressida</I> has perplexed critics and theatre directors, and after Shakespeare's lifetime it was not performed again until 1907. In many ways the play's difficulty is a surprise; the story of Troilus and Cressida was a popular theme, drawn from Homer's <I>Iliad</I> and Chaucer's own <I>Troilus and Criseyde</I>, as was its classical setting, the Greek siege of Troy, led by Agamemnon, Achilles, Ajax, Diomedes and Ulysses. <p> Within the walls of Troy, Prince Troilus falls madly in love with Cressida, daughter of the deserter Calchas. His love is intense and frenetic--I am giddy, expectation whirls round me, but turns to bitter disillusion when Cressida defects to the Greek camp and flirts with Diomedes. As the war and conflict over the abduction of Helen whirls around the doomed romance, the play delights in its complex syntax and cynical images of waste, decay, corruption and mutability, summed up in Ulysses' comment that, Love, friendship, charity, are subjects all / To envious and calumniating time. The play's cynical open-ended quality has frustrated many readers, but gives the play a remarkably modern, contemporary sensibility. --<I>Jerry Brotton</I>
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Arden Shakespeare King John (Arden Shakespeare: Second S.)
A messy, uneven and disillusioned play, <I>Timon of Athens</I> is rarely studied or performed because of scepticism regarding both its authorship and completion. Like <I>Pericles</I> there seems little doubt that Shakespeare wrote the majority, but quite what he was trying to do is another matter.<p> Timon of Athens is rich and generous, happy to provide his friends, servants and acquaintances with money whenever they require it. Only the cynical Apemantus questions the soundness of Timon's actions, and the motives of his supposed friends, wondering at what a number of men eats Timon, and he sees 'em not. It grieves me to see so many dip their meat in one man's blood. When Timon's creditors ask for payment of their loans, Timon goes to his friends, but they all refuse to help him. Even worse, Timon's one loyal friend Alcibiades is exiled from Athens. After renouncing all his friends at one last banquet, Timon retires to a misanthropic life as a hermit in a cave. As he rails against yellow, glittering precious gold, he completely renounces mankind, to die alone in his cave, his epitaph claiming that Here lie I, Timon, who alive / All living men did hate. One of Shakespeare's more puzzling plays, <I>Timon of Athens</I> is unusually bleak and unforgiving, with Timon behaving like an unsympathetic version of Lear (they were both written within a couple of years of each other). --<I>Jerry Brotton</I>
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Arden Shakespeare The Taming of the Shrew (Arden Shakespeare: Second S.)
One of the most controversial and problematic of all of Shakespeare's plays, <I>The Taming of the Shrew</I> is a typical Elizabethan domestic comedy written around 1592. Petruchio, a gentleman of Verona, arrives in Padua and announces to his friends that I come to wive it wealthily in Padua; / If wealthily, then happily in Padua. He soon finds that a group of men keen to marry Bianca, the younger daughter of rich old Baptista, are frustrated by her elder, shrewish sister, Katherine. There is much subsequent hilarity as Bianca's suitors make a bet with Petruchio that he cannot tame and marry Katherine. Despite Katherine's protestations, Petruchio goes ahead with the match, using deliberately unorthodox behaviour to confuse Katherine (including a scene where he starves her), claiming that this is the way to kill a wife with kindness. The play culminates with a scene of Katherine's apparently spontaneous subjection to her husband's will, where she places her hand beneath her husband's foot, and tells the other wives present that thy husband is thy lord, thy life, thy keeper. The play's gratuitous scenes of women being abused and vilified in the name of comedy has made many directors and critics very uncomfortable with the play, and many feminist critics have condemned contemporary productions of the play as reproducing certain 16th-century stereotypes concerning women who speak out against male authority. --<I>Jerry Brotton</I>
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Legal Action Group Homelessness and Allocations: A Guide to the Housing Act 1996 Parts VI and VII
Pages: 702, Paperback, Legal Action Group
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Arden Shakespeare Arden Shakespeare: Love's Labours Lost
Another example of Shakespeare's comic fascination with the battle between and misunderstanding of the sexes, <I>Love's Labour's Lost</I> is a difficult play to read, but one which is extremely effective on stage. The Play opens with King Ferdinand of Navarre and his courtiers taking a vow of study and sexual abstinence for a period of three years. However, their vows are soon placed under strain with the arrival of the Princess of France and her ladies in waiting. The inevitable happens, and the different couples attempt to surreptitiously communicate, causing much hilarious confusion and embarrassment in the process. Shakespeare deploys every farcical element in the book, including impersonation, wrongly delivered letters, outrageous puns and word play, fights, drunkenness and masquerades, as Ferdinand's entourage soon learn that rather than running from women to books, it is in fact the opposite sex that are the books, the arts, the academes/That show, contain, and nourish all the world. However, one of the most interesting aspects of the play is that it does not end with everyone marrying and living happily ever after. The women give as good as they get from the men, and in the end turn the tables in extremely interesting ways. One of Shakespeare's most linguistically challenging, but also intelligent comedies. --<I>Jerry Brotton</I>
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Arden Shakespeare A Midsummer Nights Dream (Arden Shakespeare: Second S.)
Pages: 309, Paperback, Arden Shakespeare
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Arden Shakespeare Pericles (Arden Shakespeare: Third S.)
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Arden Shakespeare Arden Shakespeare: the Merry Wives of Windsor: Third Series
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Arden Shakespeare Shakespeare and Music: Arden Critical Companions (Arden Critical Companion S.)
Pages: 400, Paperback, Arden Shakespeare
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Arden Shakespeare The Comedy of Errors (Arden Shakespeare: Second S.)
Generally believed to be Shakespeare's first comedy, <I>The Comedy of Errors</I> was first performed at the London Inns of Court in 1594, and has been unfairly dismissed as a piece of knockabout farce from Shakespeare's apprentice years. The play's action is very funny, especially in performance. Shipwrecked many years before the start of the play, Egeon of Syracuse searches vainly for his lost wife, one of his twin sons and one of their twin servants. Landing in Ephesus he falls foul of an obscure law condemning him to death unless he pays an enormous fine within 24 hours. The clock starts ticking and the action of the play begins to unfold. Egeon is not aware that his son Antipholus of Syracuse and his servant Dromio have also landed in Ephesus, but even worse, it soon becomes clear to the audience that Ephesus is also the home of the lost twin and servant, Antipholus and Dromio of Ephesus. <p> So begins the comedy of errors, as the pairs of twins are repeatedly and hilariously mistaken for each other, much to the consternation of their friends, creditors and lovers. Yet the play is also shot through with more serious issues. The sentence of death hangs over the father from the very beginning of the play, strange things happen to time as the play progresses, and the space of trade and the marketplace are never far away. The laughter of mistaken identity also gives way to more profound questions of identity, as when Antipholus of Syracuse says of himself that I to the world am like a drop of water/That in the ocean seeks another drop. <I>The Comedy of Errors</I> is a much neglected play which is only now achieving the critical and theatrical attention it deserves. --<I>Jerry Brotton</I>
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Legal Action Group Homelessness and Allocations
Pages: 804, Paperback, Legal Action Group
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Nexus Captives of Cheyner Close
Pages: 272, Paperback, Nexus
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Red Fox The House of Arden (Red Fox Classics S.)
Pages: 288, Paperback, Red Fox
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Arden Shakespeare King Henry VI Part 2: Pt. 2 (Arden Shakespeare: Third S.)
This second part of the history of Henry VI begins where <I>Henry VI Part One</I> ends. The Wars of the Roses between the Houses of York and Lancaster are in full swing, whilst intrigue at court becomes even more intense. Henry's wife, Margaret of Anjou takes centre stage with her lover Suffolk, conspiring against Henry's uncle, Gloucester, claiming that his wife is in league with a coven of witches. The Duke of York also plots against the ineffectual Henry, encouraging a people's revolt led by the memorable figure of Jack Cade, and then taking to the field himself. At the Battle of St. Albans, York's son Richard, the future King Richard III, kills Gloucester, leaving the Yorkist faction in the ascendancy.<p>A violent and chaotic play, <I>Henry VI Part Two</I> shows much of Shakespeare's early dramatic inexperience. Much of the verse, and many of the minor characters are undifferentiated. However, both Margaret of Anjou and Jack Cade are fascinating early characterisations which foreshadow some of Shakespeare's greatest subsequent tragic figures. --<I>Jerry Brotton</I>
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Arden Shakespeare Much Ado About Nothing (Arden Shakespeare: Second S.)
Like <I>Love's Labour's Lost</I>, <I>Much Ado about Nothing</I> shows Shakespeare moving into a more complex and darker terrain through his exploration of an apparently harmless comical romance. The play revolves around the adventures of the two gallants Claudio and Benedick at the court of Sicily. Claudio falls in love with the governor's daughter Hero, and is eager for his more misanthropic friend Benedick to also find love. Benedick is introduced to the fiery, independent Beatrice, and sparks soon fly as they banter with each other in a more wittier version of Kate and Petruchio in <I>The Taming of the Shrew</I>. Beatrice has some wonderful ripostes to marriage asking why should a woman marry a clod of wayward marl, whilst Benedick grumbles that She speaks poniards and every word stabs. Meanwhile, the jealous Don John convinces Claudio that Hero has in fact been unfaithful to him. When Claudio rejects Hero on their wedding day, she faints and is taken for dead. In the hectic final scenes the play moves towards reconciliation between Claudio and Hero, and the tentative admission of the love between Benedick and Beatrice. Famously filmed by Kenneth Branagh in the Tuscan countryside with a cast that included Keanu Reeves, <I>Much Ado about Nothing</I> remains one of Shakespeare's most successful comedies. --<I>Jerry Brotton</I>.
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Tiptree House Publishing The Secret Language of Success: Understanding Body Talk
Pages: 22, Paperback, Tiptree House Publishing
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Robson Books Ltd Mr. Big: Ozzy, Sharon and My Life as the Godfather of Rock
Pages: 256, Paperback, Robson Books Ltd
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Legal Action Group Quiet Enjoyment: Arden and Partington's Guide to Remedies for Harrassment, Illegal Eviction and Other Anti-social Behaviour
Pages: 302, Paperback, Legal Action Group
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Palgrave Macmillan Moltke and the German Wars, 1864-1871 (European History in Perspective S.)
Pages: 256, Hardcover, Palgrave Macmillan
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Nexus Abandoned Alice
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Nexus Alice in Chains
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Nexus The Obedient Alice
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Methuen Drama Serjeant Musgrave's Dance (Methuen Student Editions)
Pages: 104, Paperback, Methuen Drama
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Methuen Publishing Ltd The Stealing Steps
Pages: 318, Paperback, Methuen Publishing Ltd
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Methuen Publishing Ltd Arden and D'Arcy: Plays: The Business of Government the Royal Pardon the Little Gray Home in the West Ars Long Vita Brevis Friday's Hiding Vandaleur's Folly Immediate Rough Theatre (World Dramatists)
Pages: 536, Paperback, Methuen Publishing Ltd
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Sweet & Maxwell The Housing Act, 1996 (Sweet & Maxwell Legislation Handbooks)
Pages: 384, Paperback, Sweet & Maxwell
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Dover Publications Inc. The Merry Wives of Windsor (Arden Shakespeare: Third S.)
Written around 1597, critics believe that <I>The Merry Wives of Windsor</I> was written to capitalise on the popular success of the corpulent, knavish Sir John Falstaff in the two parts of <I>Henry IV</I>. Falstaff takes centre stage again in this play, hard up for money and planning to pay off his debts by seducing the wives of two rich citizens, Ford and Page. As in the earlier <I>Henry IV</I> plays, Falstaffs elaborate plans go awry, with disastrous and humiliating consequences. Ford is furious with Falstaff's attempt to woo his wife, whilst both Mistress Ford and Mistress Page have the measure of Falstaff, and repeatedly dupe him, first hiding him in a laundry basket and dumping him in the river, then tormenting him in the forest of Windsor with children disguised as fairies.<p>Often dismissed as a hasty and mechanical play lacking in depth, <I>The Merry Wives of Windsor</I> is in fact a wonderfully inventive farce. Falstaff is a ludicrous mock hero, dressed as a mythical hunter in the forest, declaiming powerful love that in some respects makes a beast a man, in some others a man a beast! Mistress Ford and Page are also great comic creations, witty and resilient women who drive the comedy, no longer in the holiday time of beauty, but wise and streetwise women who are always one step ahead of the absurd Falstaff. A greatly underrated play. --<I>Jerry Brotton</I>
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Gollancz The Harlequin's Dance: First Book of the Orokon (Orokon)
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Gollancz Empress of the Endless Dream (Gollancz SF S.)
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Phaidon Press It's Not How Good You Are, It's How Good You Want To Be
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Hungry Minds Inc,U.S. Improving Your Memory for Dummies (For Dummies)
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Henry Holt The Spirits Speak: One Woman's Journey into the African Spirit World of the Sangomas
Pages: 255, Hardcover, Henry Holt
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Scarecrow Press Songs for Young Singers: An Annotated List for Developing Voices
Pages: 392, Hardcover, Scarecrow Press
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