Introduction to JavaScript Object Notation

The course of true love never did run smooth. Demetrius and Lysander love Hermia. Hermia loves Lysander, but is betrothed to Demetrius?much to her dismay. And no one loves Helena, though her heart b

′Though this be madness, yet there is method in′t.′Considered one of Shakespeare′s most rich and enduring plays, the depiction of its hero Hamlet as he vows to avenge the murder of his father by his brother Claudius is both powerful and complex. As Hamlet tries to find out the truth of the situation, his troubled relationship with his mother comes to the fore, as do the paradoxes in his personality. A play of carefully crafted conflict and tragedy, Shakespeare′s intricate dialogue continues to fascinate audiences to this day.

A young boy and girl meet by chance and fall instantly in love. But their families are bitter enemies, and in order to be together the two lovers must be prepared to risk everything.

Presents Shakespeare's play about an indecisive Danish prince urged on to revenge against his uncle by his murdered father.

A young man and woman meet by chance and fall instantly in love, but their families are bitter enemies, and in order to be together the two lovers must be prepared to risk everything, in a drama that

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This six-volume set is a reissue of the 1853 edition.

For four centuries Twelfth Night has inspired theatre directors and performers: some have found class war; some have seen Malvolio as a tragic hero; some have found a passive Viola and others have found an action woman. Whether a production's emphasis is on gender bending, festivity, or trying to reinvent Shakespeare as Chekhov, the sheer variety of Twelfth Nights on offer over the centuries attests to the play's power as a stimulus to theatrical creativity. The dazzling range of the Twelfth Nights considered here includes the productively wayward as well as the conventionally respectable, productions which play to the contemporary market as well as those that seek to flout tradition. This indispensable stage history covers changing fashions in the fortunes of Twelfth Night, and includes a survey of a wide variety of theatrical interpretations of the play in the English-speaking world.

For four centuries Twelfth Night has inspired theatre directors and performers: some have found class war; some have seen Malvolio as a tragic hero; some have found a passive Viola and others have found an action woman. Whether a production's emphasis is on gender bending, festivity, or trying to reinvent Shakespeare as Chekhov, the sheer variety of Twelfth Nights on offer over the centuries attests to the play's power as a stimulus to theatrical creativity. The dazzling range of the Twelfth Nights considered here includes the productively wayward as well as the conventionally respectable, productions which play to the contemporary market as well as those that seek to flout tradition. This indispensable stage history covers changing fashions in the fortunes of Twelfth Night, and includes a survey of a wide variety of theatrical interpretations of the play in the English-speaking world.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains The Tempest, Two Gentlemen of Verona, The Merry Wives of Windsor, Twelfth Night, Measure for Measure, Much Ado about Nothing and A Midsummer Night's Dream.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), whose other enthusiasms were prison reform and chess. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Love's Labour's Lost, The Merchant of Venice, As You Like It, All's Well that Ends Well, The Taming of the Shrew, The Winter's Tale and The Comedy of Errors.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Macbeth, King John, King Richard II, King Henry IV, Part 1, King Henry IV, Part 2, and King Henry V.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains King Henry VI, Part 1, King Henry VI, Part 2, King Henry VI, Part 3, King Richard III, King Henry VIII and Timon of Athens.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Troilus and Cressida, Coriolanus, Julius Caesar, Antony and Cleopatra and Cymbeline.

'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), who devoted his time to prison reform and chess, as well as the sanitising of Shakespeare. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Titus Andronicus, King Lear, Romeo and Juliet, Hamlet and Othello.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

Henry Irving, the influential and controversial Victorian actor, was closely involved in the publication of this distinctive Shakespeare edition. As an actor, his concern was largely with the intellectual project of seeing each play as a unified work, rather than with producing strong emotional effects in the audience. In the words of his obituary in The Times, he appealed to scholars 'by his reverent and often acute treatment of the text', and accustomed playgoers to look for 'more than empty amusement'. To the edition, he brought a sense of the plays in performance which has never been equalled before or since. Addressing a general readership, he both included notes on cuts used by professional companies and suggested others that would facilitate amateur performances. Gordon Browne's illustrations, which suggest the contemporary styles of stage costume, are another attractive feature of this edition, which will appeal to Shakespearians and theatre historians alike.

In The Tempest, long considered one of Shakespeare's most lyrical plays, Prospero - a magician on an enchanted island - punishes his enemies, brings happiness to his daughter, and comes to terms with

*注意：此書為POD (Print on Demond)少量印製 Pericles, Prince of Tyre, must solve a riddle in order to marry the daughter of the King of Antioch, or be put to death. But when the answer reveals a horrific secret,

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition retains Giorgio Melchiori's text of Shakespeare's The Second Part of King Henry IV. Melchiori argues that the play forms an unplanned sequel to the First Part, itself a 'remake' of an old, non-Shakespearean play. In the Second Part, Shakespeare deliberately exploits Falstaff's popular appeal and the resulting rich humour adds a comic dimension to the play, rendering it a unique blend of history, morality play and comedy. Among modern editions, Melchiori's is the one most firmly based on the quarto. This second edition includes a new section by Adam Hansen on recent stage, film and critical interpretations.

This collection of twelve Shakespearean plays seeks to bring Shakespeare alive through a combination of innovative approaches that treat the plays as "scripts intended for performance&quo

The Sourcebooks Shakespeare brings the Shakespeare page to life. This remarkable edition of Romeo & Juliet is both the easiest way to understand the play and the best way to experience the full po

Only officially attributed to Shakespeare in 1998, Edward III chronicles the beginning of the 100 Years War and acts as a prequel to Richard II.

A military hero of ancient Rome who attempts to shift from his career as a general to become a candidate for public office ? a disastrous move that leads to his heading an attack on Rome. The last of

This popular, much-studied drama focuses on the young warrior king — from Henry's decision to continue the military exploits of his royal ancestors and press England's claim to the French throne, to h

Presenting a most civilized way to silence boors, deflect rudeness, and chide churlish lovers: Our mini book of insults culled from the dramatic works of English literature's most gifted wordsmith. S

*注意：此書為POD (Print on Demond)少量印製Hamlet, prince of Denmark, meets with his father's ghost, who alleges that his own brother, now married to his widow, murdered him. The prince devises a scheme to test

One of the author's "dark" comedies, its compelling characters include a duke masquerading as a monk, a would-be nun ordered to sacrifice her chastity to save her brother's life, and a hypocritical po

A Scottish nobleman murders the king in order to succeed to the throne. Tortured by his conscience and fearful of discovery, he becomes tangled in a web of treachery and deceit that ultimately spells

When Rosalind is banished by her uncle Duke Frederick, who has usurped her father's throne, she flees to the forest of Arden where her exiled father holds court. There, dressed as a boy to avoid disco

Banishing his cousin, Bolingbroke, King Richard II prevents a dispute from turning bloody. But Richard is an arrogant and despotic ruler, prone to tyranny and vanity, who listens only to his flatterer