Cover image for Twelfth night or What you will
Title:
Twelfth night or What you will

Twelfth night

What you will

The Pelican Shakespeare

Pelican Shakespeare.
Title:
Twelfth night or What you will
Publisher Info:
New York, New York : Penguin Books, an imprint of Penguin Random House LLC, 2016.
Physical Description:
92 pages ; 20 cm.
Series:
The Pelican Shakespeare

Pelican Shakespeare.
Abstract:
The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare's time, an introduction to the individual play, and a detailed note on the text used.
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822.33 SHAK New or Popular Book Adult Nonfiction
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Summary

Summary

"The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare's time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With stunning new covers, definitive texts, and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come. This edition of Twelfth Night is edited with an introduction by Jonathan Crewe. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators."


Author Notes

William Shakespeare, 1564 - 1616 Although there are many myths and mysteries surrounding William Shakespeare, a great deal is actually known about his life. He was born in Stratford-Upon-Avon, son of John Shakespeare, a prosperous merchant and local politician and Mary Arden, who had the wealth to send their oldest son to Stratford Grammar School.

At 18, Shakespeare married Anne Hathaway, the 27-year-old daughter of a local farmer, and they had their first daughter six months later. He probably developed an interest in theatre by watching plays performed by traveling players in Stratford while still in his youth. Some time before 1592, he left his family to take up residence in London, where he began acting and writing plays and poetry.

By 1594 Shakespeare had become a member and part owner of an acting company called The Lord Chamberlain's Men, where he soon became the company's principal playwright. His plays enjoyed great popularity and high critical acclaim in the newly built Globe Theatre. It was through his popularity that the troupe gained the attention of the new king, James I, who appointed them the King's Players in 1603. Before retiring to Stratford in 1613, after the Globe burned down, he wrote more than three dozen plays (that we are sure of) and more than 150 sonnets. He was celebrated by Ben Jonson, one of the leading playwrights of the day, as a writer who would be "not for an age, but for all time," a prediction that has proved to be true.

Today, Shakespeare towers over all other English writers and has few rivals in any language. His genius and creativity continue to astound scholars, and his plays continue to delight audiences. Many have served as the basis for operas, ballets, musical compositions, and films. While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. At the height of his career, he wrote an average of two plays a year as well as dozens of poems, songs, and possibly even verses for tombstones and heraldic shields, all while he continued to act in the plays performed by the Lord Chamberlain's Men. This staggering output is even more impressive when one considers its variety. Except for the English history plays, he never wrote the same kind of play twice. He seems to have had a good deal of fun in trying his hand at every kind of play.

Shakespeare wrote 154 sonnets, all published on 1609, most of which were dedicated to his patron Henry Wriothsley, The Earl of Southhampton. He also wrote 13 comedies, 13 histories, 6 tragedies, and 4 tragecomedies. He died at Stratford-upon-Avon April 23, 1616, and was buried two days later on the grounds of Holy Trinity Church in Stratford. His cause of death was unknown, but it is surmised that he knew he was dying.

(Bowker Author Biography)


Reviews 2

School Library Journal Review

Gr 7 Up-These books follow a similar format: initial pages are in color and introduce the characters with a portrait and quote from the play, thus revealing their personalities. An introductory color page contains an image of the setting. Manga is in black and white. Beginning at the front, texts read from left to right. The drama is revealed through brief snippets of actual dialogue, with images supplying the additional information needed to appreciate the story. This format allows the play to unfold as a "performance" rather than relying on explanatory text to convey meaning. Both artists use careful panel placement and point of view, enhancing the pacing and drama. They also rely on the use of chibi to underscore emotions. Imaginative imagery reinforces the unique Shakespearean turns of phrase. Yong's illustrations set The Merchant of Venice in a fairie world with fanciful creatures such as flying dragons. Faces are drawn with sharp-pointed noses and ears resembling Star Trek Vulcans. Readers familiar with Vulcan insistence on logic will appreciate this contrast with the logic used in the courtroom scene. Twelfth Night offers a more traditional manga style. The twins are drawn with large eyes. Emotions are conveyed through tears, sweat drops, reaction "close-up" shots, and other traditional manga techniques. This drama sports considerably more action, complemented by sound effects. The abrupt scene changes, with no advance visual cues, sometimes makes following the plot difficult. Back matter includes a plot summary and brief Shakespeare biography. Additional purchases.-Barbara M. Moon, Suffolk Cooperative Library System, Bellport, NY (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Booklist Review

This manga adaptation of Shakespeare's romantic comedy about mistaken identities and missing twins is as enjoyable as the Bard intended. Li's sweet shojo art style fits the story perfectly, and the pseudo-historical setting is fun. Her deft touch with facial expressions, comic inserts, and chibis (cute little cartoon characters) will help readers understand the Elizabethan dialogue. The characters are distinct and nicely introduced in a series of color pages. This solid, if slightly rushed, entry in the Manga Shakespeare series will make a useful addition to class studies, especially for teachers reluctant to use adaptations with simplified language.--Wildsmith, Sno. Copyright 2010 Booklist


Excerpts

Excerpts

Twelfth Night, or, What You Will Editors' Preface In recent years, ways of dealing with Shakespeare's texts and with the interpretation of his plays have been undergoing significant change. This edition, while retaining many of the features that have always made the Folger Shakespeare so attractive to the general reader, at the same time reflects these current ways of thinking about Shakespeare. For example, modern readers, actors, and teachers have become interested in the differences between, on the one hand, the early forms in which Shakespeare's plays were first published and, on the other hand, the forms in which editors through the centuries have presented them. In response to this interest, we have based our edition on what we consider the best early printed version of a particular play (explaining our rationale in a section called "An Introduction to This Text") and have marked our changes in the text--unobtrusively, we hope, but in such a way that the curious reader can be aware that a change has been made and can consult the "Textual Notes" to discover what appeared in the early printed version. Current ways of looking at the plays are reflected in our brief introductions, in many of the commentary notes, in the annotated lists of "Further Reading," and especially in each play's "Modern Perspective," an essay written by an outstanding scholar who brings to the reader his or her fresh assessment of the play in the light of today's interests and concerns. As in the Folger Library General Reader's Shakespeare, which this edition replaces, we include explanatory notes designed to help make Shakespeare's language clearer to a modern reader, and we hyperlink notes to the lines that they explain. We also follow the earlier edition in including illustrations--of objects, of clothing, of mythological figures--from books and manuscripts in the Folger Library collection. We provide fresh accounts of the life of Shakespeare, of the publishing of his plays, and of the theaters in which his plays were performed, as well as an introduction to the text itself. We also include a section called "Reading Shakespeare's Language," in which we try to help readers learn to "break the code" of Elizabethan poetic language. For each section of each volume, we are indebted to a host of generous experts and fellow scholars. The "Reading Shakespeare's Language" sections, for example, could not have been written had not Arthur King, of Brigham Young University, and Randal Robinson, author of Unlocking Shakespeare's Language, led the way in untangling Shakespearean language puzzles and shared their insights and methodologies generously with us. "Shakespeare's Life" profited by the careful reading given it by S. Schoenbaum, "Shakespeare's Theater" was read and strengthened by Andrew Gurr and John Astington, and "The Publication of Shakespeare's Plays" is indebted to the comments of Peter W. M. Blayney. We, as editors, take sole responsibility for any errors in our editions. We are grateful to the authors of the "Modern Perspectives," to Leeds Barroll and David Bevington for their generous encouragement, to the Huntington and Newberry Libraries for fellowship support, to King's College for the grants it has provided to Paul Werstine, to the Social Sciences and Humanities Research Council of Canada, which provided him with a Research Time Stipend for 1990-91, and to the Folger Institute's Center for Shakespeare Studies for its fortuitous sponsorship of a workshop on "Shakespeare's Texts for Students and Teachers" (funded by the National Endowment for the Humanities and led by Richard Knowles of the University of Wisconsin), a workshop from which we learned an enormous amount about what is wanted by college and high-school teachers of Shakespeare today. Our biggest debt is to the Folger Shakespeare Library: to Michael Witmore, Director of the Folger Shakespeare Library, who brings to our work a gratifying enthusiasm and vision; to Gail Kern Paster, Director of the Library from 2002 until July 2011, whose interest and support have been unfailing and whose scholarly expertise continues to be an invaluable resource; and to Werner Gundersheimer, the Library's Director from 1984 to 2002, who made possible our edition; to Jean Miller, the Library's Art Curator, who combed the Library holdings for illustrations, and to Julie Ainsworth, Head of the Photography Department, who carefully photographed them; to Georgianna Ziegler, Reference Librarian, whose research skills have been invaluable; to Peggy O'Brien, Director of Education, who gave us expert advice about the needs being expressed by Shakespeare teachers and students (and to Martha Christian and other "master teachers" who used our texts in manuscript in their classrooms); to the staff of the Academic Programs Division, especially Paul Menzer (who drafted "Further Reading" material), Mary Tonkinson, Lena Cowen Orlin, Molly Haws, Amy Adler, and Jessica Hymowitz; to Rachel Duchak, who helped us find the "new map;" and, finally, to the staff of the Library Reading Room, whose patience and support have been invaluable. Barbara A. Mowat and Paul Werstine Excerpted from Twelfth Night by William Shakespeare All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.