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Àííîòàöèÿ: Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s for a performance at the Inns of Court before Queen Elizabeth I. It follows the King of Navarre and his three companions as they attempt to swear off the company of women for three years of study and fasting. Their subsequent infatuation with the Princess of France and her ladies makes them forsworn. In an untraditional ending for a comedy, the play closes with the death of the Princess's father, and all weddings are delayed for a year. The play draws on themes of masculine love and desire, reckoning and rationalization, and reality versus fantasy.

Àííîòàöèÿ: When the clever and appealing Helena cures the ailing king of France of an illness,she asks for the hand of Bertram (a proper young Englishman) in return.

Àííîòàöèÿ: Ñåðèÿ English Fiction Collection ñîñòîèò èç ëó÷øèõ ïðîèçâåäåíèé àíãëèéñêèõ è àìåðèêàíñêèõ àâòîðîâ. ×èòàÿ êíèãó íà ÿçûêå îðèãèíàëà, âû íå òîëüêî îáîãàòèòå ñîáñòâåííóþ ëåêñèêó è íàó÷èòåñü ÷óâñòâîâàòü ãðàììàòè÷åñêèé ñòðîé, íî òàêæå ñìîæåòå íàñëàäèòüñÿ íàñòîÿùèì ÿçûêîì âåëèêèõ ïèñàòåëåé è ïîýòîâ. Ñåðèÿ ïðåäíàçíà÷åíà äëÿ òåõ, êòî ó÷èò àíãëèéñêèé âñåðüåç, êòî äåéñòâèòåëüíî õî÷åò çíàòü ýòîò êðàñèâûé è ìíîãîãðàííûé ÿçûê.

Àííîòàöèÿ: It is entirely probable that the date of  The Tempest is 1611, and that this was the last play completed by Shakespeare before he retired from active connection with the theater to spend the remainder of his life in leisure in his native town of Stratford-on-Avon. The main thread of the plot of the drama seems to have been some folk-tale of a magician and his daughter, which, in the precise form in which Shakespeare knew it, has not been recovered. The storm and the island were, it is believed, suggested by the wreck on the Bermudas in 1609 of one of the English expeditions to Virginia. Traces are found, too, of the author?s reading in contemporary books of travel. But the plot itself is of less importance than usual. Supernatural elements are introduced with great freedom, and the dramatist?s interest was clearly not in the reproduction of lifelike events. The presentation of character and the attractive picturing of the beauty of magnanimity and forgiveness are the things which, along with its delightful poetry, make the charm of this play. It is not to be wondered at that readers have frequently been led to find in the figure of the great magician, laying aside his robes and wonder-working rod in a spirit of love and peace toward all men, a symbol of the dramatist himself at the close of his great career; and it is surely legitimate to play with this idea without assuming that Shakespeare consciously embodied it. One can hardly conceive a more fitting epilogue to the volume which is the crown of the world s dramatic literature than the romance of The Tempest.

Àííîòàöèÿ: `The Merchant of Venice` is one of Shakespeare`s most popular comedies, but it remains deeply controversial. The text may well seem anti-Semitic; yet repeatedly, in performance, it has revealed a contrasting nature. Shylock, though vanquished in the law-court, often triumphs in the theatre. He is a character so intense that he can dominate the play, challenging abrasively its romantic and lyrical affirmations.What results is a bitter-sweet drama, both gratifying and troubling.The lovers may eventually rejoice, but there are strange discords before the final harmony is achieved. Though The `Merchant of Venice` offers some of the traditional pleasures of comedy, it also exposes the perennial operations of prejudice. Thus Shakespeare remains our contemporary.

Àííîòàöèÿ: Delightfully comic tale revolves around the physical likeness between Sebastian and his twin sister Viola. Filled with superb comic scenes, this delightful tale of mistaken identities remains one of Shakespeare's most popular and performed comedies

Àííîòàöèÿ: Sir Ian McKellan is a perfectly villainous Iago, Imogen Stubbs is a feisty (for a change!) Desdemona. The proof of the pudding is that this cast was continually called upon to reprise their performance of this play at various times and places over a period of seven years before it was finally preserved on video. If you saw the movie version with Kenneth Branagh and Lawrence Fishburne, this version will seem a bit claustrophobic. It's actually fitting for the story, as Othello and Desdemona are forced into the small spaces society makes for them and end up destroyed, not just by Othello's jealousy, but by society's lack of tolerance. This is the most technically perfect of Shakespeare's tragedies, and I am so glad we have this version on film. Sadly, Sir John Gielgud's Hamlet (dubbed to have been a performance "for the ages") was never filmed; I wish so much it had been.

Àííîòàöèÿ: King Lear` is probably Shakespeare`s most powerful tragedy. It encompasses the horrific and the grotesque, the appalling and the poignant. Love and hate, loyalty and treachery, cruelty and self-sacrifice, are all interwoven in a tempestuous drama which has become one of the classics of the world`s literature. Its meaning is still a matter of contention for intepreters. Is it Christian or anti-Christian? Does it suggest a providential pattern, or does it anticipate the theatre of the Absurd

Àííîòàöèÿ: Peter Ackroyd's marvellous biography is a living attempt to reach into the heart of Shakespeare. He creates an intimate and immediate connection with his subject, so that the book reads like the work of a contemporary - meeting Shakespeare afresh on his own ground. Written with intuition and imagination unique to Peter Ackroyd, this is a book by a writer about a writer, and a fascinating and detailed depiction of the world Shakespeare inhabited.

Àííîòàöèÿ: Comedy, tragedy and history-this anthology presents a trio of Shakespeare's most frequently studied and performed works. Each represents one of the playwright's primary genres, and together they run the gamut of the Elizabethan theater experience, from lightheared romance to star-crossed passion to ruthless ambition.

Àííîòàöèÿ: Twelfth Night is one of Shakspeare s funniest plays and also one of his most romantic. A young noblewoman, Viola, shipwrecked and separated from htr twin brother, dresses as a man in order to enter the service of Orsino, duke of illyria. Complications ensue, and everyone into the hilarious confusion.

Àííîòàöèÿ: This re-set edition of The Complete Works of William Shakespeare contains all the plays and poems; the plays are arranged in the chronical order of their composition, not gatheredinto comedies, histories and tragedies-the traditional method dating from the first folio