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Shakespeare Criticism in the Twentieth Century traces the reception of Shakespeare in the critical literature from the end of Victorianism to the present day. It charts a course through the turbulent waters of the twentieth century's intense and prolific engagement with Shakespeare, dramatist and poet. Following an introductory overview of the major trends in Shakespeare criticism in their embattled state in the twentieth century, later chapters take up the various strands of this criticism in a more expansive manner. The book ranges widely across the plays and poems, and canvasses all stages of Shakespeare's career.

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This is a biography of Hensley Henson, one of the most controversial religious figures in England during the late nineteenth and early twentieth centuries. This book examines Henson's education at Oxford University and describes the highlights of his career as pastor of Ilford and Barking Church, as canon of Westminster Abbey, and as bishop of Hereford and Durham. It explores his involvement in political issues and his controversial views on such issues as divorce, the Italian invasion of Abyssinia, and the anti-Semitic policies of Nazi Germany.

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If opera had existed in Elizabethan London, the world's Top Bard, as W.H. Auden called him, might have become the world's Top Librettist. As Gary Schmidgall shows in this illuminating study, Shakespeare's expressive ways and dramaturgical means are like those of composers and librettists in numerous and often astonishing ways. No wonder that well over two hundred operas have been based on Shakespeare's plays.
Ranging widely through the Shakespearean canon and the standard operatic repertory, Schmidgall presents a fascinating comparison, focusing on similarities of expressive style, scenic structure, staging, and performance practice. Shakespeare and Opera offers extended discussions of issues central to both theatrical genres, including their shared demand for virtuoso display, the comparable functions of set speeches and arias, and the similarities of verbal and musical rhetoric, and the charges of unreality and melodrama that have dogged them both. In addition, Schmidgall provides concise essays on the most intriguing Shakespeare-based operas, including works of Verdi, Wagner, Bellini, Rossini, Berlioz, Thomas, Vaughan Williams, Barber, and Britten. He enriches his argument with the insights of the great composers who never set Shakespeare (Mozart, Puccini, and Strauss among them), major observers of the legitimate stage (from Samuel Johnson to Eric Bentley) and the musical stage (from Joseph Addison to Joseph Kerman), as well as the incisive views of influential artists, critics, and performers as diverse as Walt Whitman, H.L. Mencken, and Laurence Olivier.
For all who love the stage, Shakespeare and Opera offers endless insight and fascination. Schmidgall's extended comparison of the two dramaturgies provides a fresh perspective on Shakespeare, musical theater, comparative drama, and theater history.

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The Monument presents a new discovery about the form and content of "Shake-Speares Sonnets" of 1609. The book offers a new edition of the 154 verses to demonstrate that Edward de Vere, Earl of Oxford constructed a "monument" to preserve "the living record" of Henry Wriothesley, 3rd Earl of Southampton as the rightful successor by blood to Queen Elizabeth I of England. In the exact center of the elegant monument is a 100-sonnet diary from the Essex Rebellion of 1601 to the Queen's death and funeral in 1603, when the Tudor dynasty ended. This breakthrough edition shows why Oxford was forced to sacrifice his own identity to save the life of Southampton, his unacknowledged royal son, and secure the promise of his release from the Tower of London with a royal pardon. Here is the "smoking gun" of the Shakespeare authorship mystery, preserved in the Sonnets of Shakespeare.

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58 of 67 people found the following review helpful Most important work on Shakespeare in a century, August 4, 2005 Peter Rush (Leesburg, VA United States) - See all my reviews    This review is from: The Monument: "Shake-Speares Sonnets" by Edward de Vere, 17th Earl of Oxford (Hardcover) It is gratifying to read so many other reviews that agree on the importance of Hank Whittemore's latest book, The Monument, on Shakespeare's Sonnets. What Whittemore has accomplished is nothing short of breath-taking. He has achieved in the literary realm what Thomas Kuhn so excellently described for science 40 years ago: a paradigm shift, where it takes a totally fresh view, unemcumbered by the assumptions and prejudices of a given field of inquiry, to solve what are otherwise perceived in the profession to be unsolvable questions. Einstein's Special Relativity Theory, coincidentally exactly 100 years ago, is the best example of such a paradigm shift, where the only solution to the conundrums plaguing physics was Einstein's assertion that time itself was not constant, and neither was mass. The difference in the case of Whittemore's work is that despite massive evidence that Shakespeare's Sonnets remain to this day a virtually totally impenetrable enigma, very few... Read more Help other customers find the most helpful reviews  Was this review helpful to you?  Report abuse | Permalink  Comments (11) 22 of 26 people found the following review helpful Making Sense of the Sonnets, January 11, 2007 Dr. John R. Fox (Sanibel FL USA) - See all my reviews    This review is from: The Monument: "Shake-Speares Sonnets" by Edward de Vere, 17th Earl of Oxford (Hardcover) While I always loved the language of Shakespeare's Sonnets, I had more or less given up on them. They were obviously deeply autobiogrqaphical, but to what and to whom did they they refer? Were they heterosexual love poems or, as commentators reluctantly came to assume, homosexual tracts directed to the Earl of Southampton who had been the dedicatee of the two long poems Venus and Adonis and The Rape of Lucrece? But how did the latter jibe with the failure of anyone to come up with a connection between the man from Stratford and the Earl? And what sense did it make when the first thirty or so sonnets where addressed to a young man urging him to marry and reproduce himself? And what about the "rival poet" and the "dark lady" who appear in the later sonnets? Many commentators have given up in despair and the orthodoxy became that the autobiography was irrelevant to the poems which had to be read things in themselves without outside reference. So I gave up. Until, that is, I... Read more Help other customers find the most helpful reviews  Was this review helpful to you?  Report abuse | Permalink  Comment (1) 29 of 38 people found the following review helpful Masterful, "Must-Read" Book!, July 3, 2006 Gary L (Park Ridge, Illinois) - See all my reviews This review is from: The Monument: "Shake-Speares Sonnets" by Edward de Vere, 17th Earl of Oxford (Hardcover) The Monument, by Hank Whittemore I've been studying the Shakespeare-Oxford authorship question for close to 20 years. During this time, I had long ago become convinced that the real author of the Shakespearean canon was Edward deVere, the 17th Earl of Oxford, writing under the pseudonym "William Shake-speare" and most definitely was not Will Shaksper, the man from Stratford who most everyone assumes to be the author. Now, after reading Hank Whittemore's masterful exposition of the sonnets, The Monument, the authorship debate is unquestionably settled for all time. Whittemore's recognition of the author as Edward deVere is, to my mind, beyond dispute. Moreover, he has also identified the two other protagonists of the sonnets: the "Fair Youth" as Henry Wriothesley, the 3rd Earl of Southampton; and the "Dark Lady" as Queen Elizabeth. Many other Shakespearean researchers have posited these identifications, so this in itself is not necessarily new... Read more Help other customers find the most helpful reviews  Was this review helpful to you?  Report abuse | Permalink  Comments (2)

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Now available in beautiful World's Classics editions--with handsome, four-color covers and new low prices--The Oxford Shakespeare offers new and authoritative edions of Shakespeare's plays. In each volume, an introductory essay provides all relevant background information together with an appraisal of critical views and the play's performance history. In addition, the detailed commentaries pay particular attention to the language and staging. These editions are perfect for all readers, whether actors needing stage directions, students desiring comprehensive (yet inobtrusive) notes, or the reader of classic literature returning to the Bard's timeless writings.
The most formally ambitious and poetically brilliant of Shakespeare's tragedies, Anthony and Cleopatra is also one of his most critically contentious plays in terms of the degree and nature of its success. Always alert to the play's theatricality and boldly experimental design, the wide-ranging introduction offers a fresh critical account of the play, exploring its paradoxical treatment of gender and identity as well as the rich complexity and tensions of its much-loved poetic language. With a generous appendix of Shakespeare's source materials, this edition also offers a full stage history.

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A tragedy of sweeping proportions, May 24, 2007 S. Schwartz "romonko" (alberta canada) - See all my reviews    This review is from: The Tragedy of Anthony and Cleopatra (Oxford Shakespeare) (Paperback) This is a tragic play of a man who has the skill and the determination to rule the world, but instead he brings himself to ruin through capitulation to desires of the flesh. Antony's love for Cleopatra is so self-destructive that he in the end has to turn to suicide to escape his downward spiral. It's not an easy play to read, but it is an important one. Help other customers find the most helpful reviews  Was this review helpful to you?  Report abuse | Permalink  Comment 2 of 5 people found the following review helpful Will the Real Marc Antony Please Stand Up., January 28, 2002 Christopher B. Jonnes (Stillwater, MN United States) - See all my reviews    This review is from: The Tragedy of Anthony and Cleopatra (Oxford Shakespeare) (Paperback) Anthony & Cleopatra didn't grab me like Shakespeare's other works. I don't believe it's his best. Of course, it's still Shakespeare, which makes it better than most and definitely worth reading. Despite the obvious beauty of each sentence, I found the larger picture harder to grasp in this rendering of the famous triangle of love and intrigue between Cleopatra, Queen of Egypt, Marc Antony, and Caesar of Rome. Without the benefit of prior historical perspective, this play is difficult to follow, and the character motivations are less clear than his other classics. After finishing the story I'm still trying to understand why Cleopatra so loved Antony. I would not choose this play as the one to introduce readers to Shakespeare. --Christopher Bonn Jonnes, author of Wake Up Dead. Help other customers find the most helpful reviews  Was this review helpful to you?  Report abuse | Permalink  Comment (1)

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