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Julius Caesar (Folger Shakespeare Library) Paperback – January 1, 2004
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Shakespeare may have written Julius Caesar as the first of his plays to be performed at the Globe, in 1599. For it, he turned to a key event in Roman history: Caesar’s death at the hands of friends and fellow politicians. Renaissance writers disagreed over the assassination, seeing Brutus, a leading conspirator, as either hero or villain. Shakespeare’s play keeps this debate alive.
This edition includes:
-Freshly edited text based on the best early printed version of the play
-Newly revised explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the play’s famous lines and phrases
-An introduction to reading Shakespeare’s language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library’s vast holdings of rare books
-An up-to-date annotated guide to further reading
Essay by Coppélia Kahn
The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
- Print length288 pages
- LanguageEnglish
- PublisherSimon & Schuster
- Publication dateJanuary 1, 2004
- Dimensions4.19 x 0.8 x 6.75 inches
- ISBN-109780743482745
- ISBN-13978-0743482745
- Lexile measureNP740L
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About the Author
Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.
Paul Werstine is Professor of English at the Graduate School and at King’s University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare’s plays.
Excerpt. © Reprinted by permission. All rights reserved.
Julius Casar
By William ShakespeareWashington Square Press
Copyright © 2004 William ShakespeareAll right reserved.
ISBN: 9780743482745
Shakespeare's Life
Surviving documents that give us glimpses into the life of William Shakespeare show us a playwright, poet, and actor who grew up in the market town of Stratford-upon-Avon, spent his professional life in London, and returned to Stratford a wealthy landowner. He was born in April 1564, died in April 1616, and is buried inside the chancel of Holy Trinity Church in Stratford.
We wish we could know more about the life of the world's greatest dramatist. His plays and poems are testaments to his wide reading -- especially to his knowledge of Virgil, Ovid, Plutarch, Holinshed's Chronicles, and the Bible -- and to his mastery of the English language, but we can only speculate about his education. We know that the King's New School in Stratford-upon-Avon was considered excellent. The school was one of the English "grammar schools" established to educate young men, primarily in Latin grammar and literature. As in other schools of the time, students began their studies at the age of four or five in the attached "petty school," and there learned to read and write in English, studying primarily the catechism from the Book of Common Prayer. After two years in the petty school, students entered the lower form (grade) of the grammar school, where they began the serious study of Latin grammar and Latin texts that would occupy most of the remainder of their school days. (Several Latin texts that Shakespeare used repeatedly in writing his plays and poems were texts that schoolboys memorized and recited.) Latin comedies were introduced early in the lower form; in the upper form, which the boys entered at age ten or eleven, students wrote their own Latin orations and declamations, studied Latin historians and rhetoricians, and began the study of Greek using the Greek New Testament.
Since the records of the Stratford "grammar school" do not survive, we cannot prove that William Shakespeare attended the school; however, every indication (his father's position as an alderman and bailiff of Stratford, the playwright's own knowledge of the Latin classics, scenes in the plays that recall grammar-school experiences -- for example, The Merry Wives of Windsor, 4.1) suggests that he did. We also lack generally accepted documentation about Shakespeare's life after his schooling ended and his professional life in London began. His marriage in 1582 (at age eighteen) to Anne Hathaway and the subsequent births of his daughter Susanna (1583) and the twins Judith and Hamnet (1585) are recorded, but how he supported himself and where he lived are not known. Nor do we know when and why he left Stratford for the London theatrical world, nor how he rose to be the important figure in that world that he had become by the early 1590s.
We do know that by 1592 he had achieved some prominence in London as both an actor and a playwright. In that year was published a book by the playwright Robert Greene attacking an actor who had the audacity to write blank-verse drama and who was "in his own conceit [i.e., opinion] the only Shake-scene in a country." Since Greene's attack includes a parody of a line from one of Shakespeare's early plays, there is little doubt that it is Shakespeare to whom he refers, a "Shake-scene" who had aroused Greene's fury by successfully competing with university-educated dramatists like Greene himself. It was in 1593 that Shakespeare became a published poet. In that year he published his long narrative poem Venus and Adonis; in 1594, he followed it with The Rape of Lucrece. Both poems were dedicated to the young earl of Southampton (Henry Wriothesley), who may have become Shakespeare's patron.
It seems no coincidence that Shakespeare wrote these narrative poems at a time when the theaters were closed because of the plague, a contagious epidemic disease that devastated the population of London. When the theaters reopened in 1594, Shakespeare apparently resumed his double career of actor and playwright and began his long (and seemingly profitable) service as an acting-company shareholder. Records for December of 1594 show him to be a leading member of the Lord Chamberlain's Men. It was this company of actors, later named the King's Men, for whom he would be a principal actor, dramatist, and shareholder for the rest of his career.
So far as we can tell, that career spanned about twenty years. In the 1590s, he wrote his plays on English history as well as several comedies and at least two tragedies (Titus Andronicus and Romeo and Juliet). These histories, comedies, and tragedies are the plays credited to him in 1598 in a work, Palladis Tamia, that in one chapter compares English writers with "Greek, Latin, and Italian Poets." There the author, Francis Meres, claims that Shakespeare is comparable to the Latin dramatists Seneca for tragedy and Plautus for comedy, and calls him "the most excellent in both kinds for the stage." He also names him "Mellifluous and honey-tongued Shakespeare": "I say," writes Meres, "that the Muses would speak with Shakespeare's fine filed phrase, if they would speak English." Since Meres also mentions Shakespeare's "sugared sonnets among his private friends," it is assumed that many of Shakespeare's sonnets (not published until 1609) were also written in the 1590s.
In 1599, Shakespeare's company built a theater for themselves across the river from London, naming it the Globe. The plays that are considered by many to be Shakespeare's major tragedies (Hamlet, Othello, King Lear, and Macbeth) were written while the company was resident in this theater, as were such comedies as Twelfth Night and Measure for Measure. Many of Shakespeare's plays were performed at court (both for Queen Elizabeth I and, after her death in 1603, for King James I), some were presented at the Inns of Court (the residences of London's legal societies), and some were doubtless performed in other towns, at the universities, and at great houses when the King's Men went on tour; otherwise, his plays from 1599 to 1608 were, so far as we know, performed only at the Globe. Between 1608 and 1612, Shakespeare wrote several plays -- among them The Winter's Tale and The Tempest -- presumably for the company's new indoor Blackfriars theater, though the plays seem to have been performed also at the Globe and at court. Surviving documents describe a performance of The Winter's Tale in 1611 at the Globe, for example, and performances of The Tempest in 1611 and 1613 at the royal palace of Whitehall.
Shakespeare wrote very little after 1612, the year in which he probably wrote King Henry VIII. (It was at a performance of Henry VIII in 1613 that the Globe caught fire and burned to the ground.) Sometime between 1610 and 1613 he seems to have returned to live in Stratford-upon-Avon, where he owned a large house and considerable property, and where his wife and his two daughters and their husbands lived. (His son Hamnet had died in 1596.) During his professional years in London, Shakespeare had presumably derived income from the acting company's profits as well as from his own career as an actor, from the sale of his play manuscripts to the acting company, and, after 1599, from his shares as an owner of the Globe. It was presumably that income, carefully invested in land and other property, which made him the wealthy man that surviving documents show him to have become. It is also assumed that William Shakespeare's growing wealth and reputation played some part in inclining the crown, in 1596, to grant John Shakespeare, William's father, the coat of arms that he had so long sought. William Shakespeare died in Stratford on April 23, 1616 (according to the epitaph carved under his bust in Holy Trinity Church) and was buried on April 25. Seven years after his death, his collected plays were published as Mr. William Shakespeares Comedies, Histories, & Tragedies (the work now known as the First Folio).
The years in which Shakespeare wrote were among the most exciting in English history. Intellectually, the discovery, translation, and printing of Greek and Roman classics were making available a set of works and worldviews that interacted complexly with Christian texts and beliefs. The result was a questioning, a vital intellectual ferment, that provided energy for the period's amazing dramatic and literary output and that fed directly into Shakespeare's plays. The Ghost in Hamlet, for example, is wonderfully complicated in part because he is a figure from Roman tragedy -- the spirit of the dead returning to seek revenge -- who at the same time inhabits a Christian hell (or purgatory); Hamlet's description of humankind reflects at one moment the Neoplatonic wonderment at mankind ("What a piece of work is a man!") and, at the next, the Christian disparagement of human sinners ("And yet, to me, what is this quintessence of dust?").
As intellectual horizons expanded, so also did geographical and cosmological horizons. New worlds -- both North and South America -- were explored, and in them were found human beings who lived and worshiped in ways radically different from those of Renaissance Europeans and Englishmen. The universe during these years also seemed to shift and expand. Copernicus had earlier theorized that the earth was not the center of the cosmos but revolved as a planet around the sun. Galileo's telescope, created in 1609, allowed scientists to see that Copernicus had been correct; the universe was not organized with the earth at the center, nor was it so nicely circumscribed as people had, until that time, thought. In terms of expanding horizons, the impact of these discoveries on people's beliefs -- religious, scientific, and philosophical -- cannot be overstated.
London, too, rapidly expanded and changed during the years (from the early 1590s to around 1610) that Shakespeare lived there. London -- the center of England's government, its economy, its royal court, its overseas trade -- was, during these years, becoming an exciting metropolis, drawing to it thousands of new citizens every year. Troubled by overcrowding, by poverty, by recurring epidemics of the plague, London was also a mecca for the wealthy and the aristocratic, and for those who sought advancement at court, or power in government or finance or trade. One hears in Shakespeare's plays the voices of London -- the struggles for power, the fear of venereal disease, the language of buying and selling. One hears as well the voices of Stratford-upon-Avon -- references to the nearby Forest of Arden, to sheepherding, to small-town gossip, to village fairs and markets. Part of the richness of Shakespeare's work is the influence felt there of the various worlds in which he lived: the world of metropolitan London, the world of small-town and rural England, the world of the theater, and the worlds of craftsmen and shepherds.
That Shakespeare inhabited such worlds we know from surviving London and Stratford documents, as well as from the evidence of the plays and poems themselves. From such records we can sketch the dramatist's life. We know from his works that he was a voracious reader. We know from legal and business documents that he was a multifaceted theater man who became a wealthy landowner. We know a bit about his family life and a fair amount about his legal and financial dealings. Most scholars today depend upon such evidence as they draw their picture of the world's greatest playwright. Such, however, has not always been the case. Until the late eighteenth century, the William Shakespeare who lived in most biographies was the creation of legend and tradition. This was the Shakespeare who was supposedly caught poaching deer at Charlecote, the estate of Sir Thomas Lucy close by Stratford; this was the Shakespeare who fled from Sir Thomas's vengeance and made his way in London by taking care of horses outside a playhouse; this was the Shakespeare who reportedly could barely read but whose natural gifts were extraordinary, whose father was a butcher who allowed his gifted son sometimes to help in the butcher shop, where William supposedly killed calves "in a high style," making a speech for the occasion. It was this legendary William Shakespeare whose Falstaff (in 1 and 2 Henry IV) so pleased Queen Elizabeth that she demanded a play about Falstaff in love, and demanded that it be written in fourteen days (hence the existence of The Merry Wives of Windsor). It was this legendary Shakespeare who reached the top of his acting career in the roles of the Ghost in Hamlet and old Adam in As You Like It -- and who died of a fever contracted by drinking too hard at "a merry meeting" with the poets Michael Drayton and Ben Jonson. This legendary Shakespeare is a rambunctious, undisciplined man, as attractively "wild" as his plays were seen by earlier generations to be. Unfortunately, there is no trace of evidence to support these wonderful stories.
Perhaps in response to the disreputable Shakespeare of legend -- or perhaps in response to the fragmentary and, for some, all-too-ordinary Shakespeare documented by surviving records -- some people since the mid-nineteenth century have argued that William Shakespeare could not have written the plays that bear his name. These persons have put forward some dozen names as more likely authors, among them Queen Elizabeth, Sir Francis Bacon, Edward de Vere (earl of Oxford), and Christopher Marlowe. Such attempts to find what for these people is a more believable author of the plays is a tribute to the regard in which the plays are held. Unfortunately for their claims, the documents that exist that provide evidence for the facts of Shakespeare's life tie him inextricably to the body of plays and poems that bear his name. Unlikely as it seems to those who want the works to have been written by an aristocrat, a university graduate, or an "important" person, the plays and poems seem clearly to have been produced by a man from Stratford-upon-Avon with a very good "grammar-school" education and a life of experience in London and in the world of the London theater. How this particular man produced the works that dominate the cultures of much of the world almost four hundred years after his death is one of life's mysteries -- and one that will continue to tease our imaginations as we continue to delight in his plays and poems.
Copyright © 2003 by The Folger Shakespeare Library
Continues...
Excerpted from Julius Casarby William Shakespeare Copyright © 2004 by William Shakespeare. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- ASIN : 0743482743
- Publisher : Simon & Schuster; Reprint,Updated edition (January 1, 2004)
- Language : English
- Paperback : 288 pages
- ISBN-10 : 9780743482745
- ISBN-13 : 978-0743482745
- Lexile measure : NP740L
- Item Weight : 4.8 ounces
- Dimensions : 4.19 x 0.8 x 6.75 inches
- Best Sellers Rank: #5,700 in Books (See Top 100 in Books)
- #2 in Comedic Dramas & Plays
- #5 in British & Irish Dramas & Plays
- #7 in Shakespeare Dramas & Plays
- Customer Reviews:
About the authors
William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's preeminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.
Shakespeare was born in Stratford-upon-Avon in Warwickshire and was baptised on 26 April 1564. Thought to have been educated at the local grammar school, he married Anne Hathaway, with whom he went on to have three children, at the age of eighteen, before moving to London to work in the theatre. Two erotic poems, Venus and Adonis and The Rape of Lucrece were published in 1593 and 1594 and records of his plays begin to appear in 1594 for Richard III and the three parts of Henry VI. Shakespeare's tragic period lasted from around 1600 to 1608, during which period he wrote plays including Hamlet and Othello. The first editions of the sonnets were published in 1609 but evidence suggests that Shakespeare had been writing them for years for a private readership.
Shakespeare spent the last five years of his life in Stratford, by now a wealthy man. He died on 23 April 1616 and was buried in Holy Trinity Church in Stratford. The first collected edition of his works was published in 1623.
(The portrait details: The Chandos portrait, artist and authenticity unconfirmed. NPG1, © National Portrait Gallery, London)
Paul Werstine is professor of English at King’s University College at Western University, a member of the graduate faculty at the University, editor (with Barbara A. Mowat) of the Folger Shakespeare Library editions of Shakespeare's works, and general editor (with Richard Knowles of the University of Wisconsin–Madison and Eric Rasmussen of the University of Nevada--Reno) of the New Variorum Shakespeare, published by the Modern Language Association, for which he is preparing the volume on Romeo and Juliet. He has written extensively about the transmission of early modern English dramatic texts in manuscript and into print, and about the history of editing Shakespeare, including Early Modern Playhouse Manuscripts and The Editing of Shakespeare (Cambridge, 2012). Dr. Werstine holds an M.A. degree in English literature from Western University and a Ph.D. in English literature from the University of South Carolina.
Barbara A. Mowat (1934-2017) was the Director of Research Emerita at the Folger Shakespeare Library, consulting editor of Shakespeare Quarterly, and editor (with Paul Werstine) of the Folger Shakespeare Library editions of Shakespeare's works. Her major fields of research interest included Shakespeare’s dramatic romances, early modern printed dramatic texts, and Shakespeare’s reading practices. She received an M.A. degree in English literature from the University of Virginia, a Ph.D. in English literature from Auburn University, and Doctorates of Humane Letters from Amherst College, St. Johns University, and Washington College. Before coming to the Folger, she was Hollifield Professor of English Literature at Auburn University and then Dean of the College at Washington College. She served as president of the Shakespeare Association of America, president of the Southeast Renaissance Conference, chair of the MLA committee on the New Variorum Shakespeare, and was a member of the advisory board of the International Shakespeare Conference.
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It was the Folger edition of "Julius Caesar" that grabbed me back in the ninth grade, when I was failing all my classes and hardly hitting my assigned reading. This has it all: Indelible characters, hard-hitting action scenes, tricky "what-would-you-do" moments, and text that you can grasp readily thanks to the Folger practice of laying out the tricky parts on the opposite page. Guess what: There aren't so many "tricky parts" in "Julius Caesar" as you might expect from reading "Hamlet" or even "Midsummer Night's Dream."
There are many, many great lines, some quite famous and instantly recognizable to anyone with a bit of cultural awareness. "Beware the ides of March!' "The fault, dear Brutus, is not in our stars,/But in ourselves..." "Yond Cassius has a lean and hungry look." "...it was Greek to me." "Cowards die many times before their deaths;/The valiant never taste of death but once..." And that's just in the first two acts.
The great speech everyone remembers, the one which begins "Friends, Romans, countrymen, lend me your ears," is especially powerful when read in context. It is delivered by the play's most fascinating character, Mark Antony. At this point in the play, the title character is [Big Spoiler Coming] terminally indisposed, and most of the people who have been doing the talking are fine with this. Then Mark Antony comes on stage, and with that line, and the next several that follow, he effects a tremendous turnabout in the storyline, among the most memorable ever devised. It's a riveting, passionate, and snarkishly satirical scene, as the cynical-yet-somehow-admirable Mark Antony winds up a crowd of passive Romans into complete bloodlust.
The scenes are sharp like that throughout, something that can't always be said of Shakespeare. He's often ambiguous, but seldom as effectively as here. The dilemma of Brutus, who sees a man whose power is going to his head, is one we can relate to, as we see that side of Caesar, too, but is the prescribed cure better than the sickness, or is Brutus just the wrong physician? We get one unalloyed villain in Cassius, whose very name is snakelike and who seems to operate on Brutus like a proto-Iago, but different readers will come away with different perspectives on his plotting.
Probably written in 1599, just as Shakespeare was entering his decade of greatest accomplishment, "Julius Caesar" may be with "Romeo & Juliet" and "MacBeth" the safest bet for a high-school or junior-high-school English teacher. I can't think of an easier play of Shakespeare's to read, or maybe even enjoy. Add to that the levels of deception, subtle characterization, and satirical realpolitik to be discovered, and you have a play that satisfies as much as it draws you in.
I am happy I purchased this edition in paperback. The Folger Library has produced a very pleasant read, with nice-sized, very readable typeface, and a well-designed layout for the book. I'm glad I did not order the Kindle version as this quarto-like version sat comfortably in my hands, bending with just the right ply. The text of the play sits on the right page with explanatory notes on the left. So if you are helped by explanatory notes on the language--and I occasionally am--you will probably find them easy to scan while reading. The edition also includes some engraving-like reproductions on the left page, near the bottom. The representations often echo certain events as the plot unfolds, sometimes sufficiently to evoke further interest and consideration, other times seeming to be more perfunctorily-placed and uninteresting.
For me, reading this edition was a decidedly superior experience to reading plays in other paperback versions (like Signet) as well as the Kindle. I look forward to reading other plays in the Folger editions.
Also- the shipping and handling part made the book cover edge a bit skidded so the paperback has a ridge like effect.
Reviewed in the United States on August 7, 2017
Also- the shipping and handling part made the book cover edge a bit skidded so the paperback has a ridge like effect.
I am a huge fan of Shakespeare's works and this edition of Julius Caesar does not disappoint. The characters are well-developed and the plot is engaging from start to finish. I found myself completely invested in the story and its outcome.
Overall, I highly recommend this edition of Julius Caesar to any fans of Shakespeare or those looking to expand their knowledge of his works. It is a beautifully crafted book and a great addition to any library.
Top reviews from other countries
Encadernação ruim, tinta de baixa qualidade, notas com poucas informações sobre as peças, papel ruim (10 reais seria um bom preço para o produto, não 20-50). Melhor tentar as edições já famosas: Norton, Arden, Oxford (na versão individual, comentada), Riverside etc.
But when I come in lieu of its contents, I really have been overwhelmed with that. I first time enjoyed studying it to the core with utmost ease. One can meet the best things related to Shakespearean plays if they are seeking a comprehensive and comprehensible comprehension of the real text with clarity and without obscurity avoiding much of the unnecessary padding which other editions include.
Reviewed in India on May 24, 2017