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'By far the best edition of King Lear - in respect of both textual and other matters - that we now have.'John Lyon, English Language Notes'This volume is a treasure-trove of precise information and stimulating comments on practically every aspect of the Lear-universe. I know of no other edition which I would recommend with such confidence: to students, professional colleagues and also the 'educated public'.'Dieter Mehl, Shakespeare Jahrbuch, vol 134
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King Lear stands like a colossus at the centre of Shakespeare's achievement as the grandest effort of his imagination. Read the first page Browse Sample Pages
Copyright | Table of Contents | Excerpt | Index | Back Cover
King Lear stands like a colossus at the centre of Shakespeare's achievement as the grandest effort of his imagination. Read the first page Browse Sample Pages
Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Paperback
Although RA Foakes' Arden³ edition appeared some years after those of Wells & Taylor (Complete Oxford) and Jay L Halio (Cambridge) it did not follow their precedent of issuing separate texts based on Quarto and Folio originals. These early texts (Q 1608 and F 1623 respectively) occasionally offer quite different versions of the play and reconciling them to form a single, coherent whole is a task that is, arguably, less elegant than the dual edition solution. By comparison, Arden's text looks cumbersome, with numerous Q and F superscripts surrounding passages found exclusively in one or other source.
Foakes is well aware that his single, 'conflated' text isn't as fashionable as those of the 'revisionists' mentioned above, who believe that the Folio text of Lear represents Shakespeare's revised and final draft, and that modern editors should not pick and mix between Q and F but respect the integrity of the two early sources. While seemingly reactionary, Foakes is in fact countering the new orthodoxy of Halio et al. In his view, their 'dogmatic and purist stance ... abandons the idea of King Lear as a single work of which we have two versions.' He is cautious and level-headed in his approach, acknowledging the limitations of scholarly speculation. And in presenting both Q and F variants he allows the reader to make up his/her own mind.
Aside from this central controversy, the Arden³ Lear has much to offer. Foakes reminds us of some key differences between the Jacobean world and our own: the original audience, he says, would have tuned in much more readily than us to puns and linguistic innovation; grasped the symbolic difference between crown and coronet; fully understood the distinctions of 'thou' and 'thee'; and recognised the constitutional impossibility of a monarch giving away his kingdom as though it were in his personal gift. The Introduction also presents illuminating discussions on loyalty and disobedience (in which Oswald could conceivably be seen as an ideal servant and Kent a bad one), on the problem of illusion in Gloucester's attempted suicide (IV.6) and on the influence of writers such as Harsnett, Erasmus and Montaine. Plentiful examples of dramatic practice from the play's long stage history are skilfully integrated into these discussions, while its equally rich critical history - especially that of the C20 - is helpfully evaluated. The conclusion is that there can be no return to Christian redemptionist optimism on the one hand or to totally nihilistic interpretations on the other. A recognition of the play's complexity, paradoxes and contradictions have led many to feel, in the words of Richard Fly, 'a deep distrust of all attempts at closure' in King Lear.
Ultimately, therefore, this Arden³ is not as radical as rival editions. But it presents an honest, balanced and democratic version of the play in which judgements are occasionally forcefully expressed and occasionally left unresolved. It is comprehensive, authoritative and thought-provoking and should be of value to any serious student.
Foakes is well aware that his single, 'conflated' text isn't as fashionable as those of the 'revisionists' mentioned above, who believe that the Folio text of Lear represents Shakespeare's revised and final draft, and that modern editors should not pick and mix between Q and F but respect the integrity of the two early sources. While seemingly reactionary, Foakes is in fact countering the new orthodoxy of Halio et al. In his view, their 'dogmatic and purist stance ... abandons the idea of King Lear as a single work of which we have two versions.' He is cautious and level-headed in his approach, acknowledging the limitations of scholarly speculation. And in presenting both Q and F variants he allows the reader to make up his/her own mind.
Aside from this central controversy, the Arden³ Lear has much to offer. Foakes reminds us of some key differences between the Jacobean world and our own: the original audience, he says, would have tuned in much more readily than us to puns and linguistic innovation; grasped the symbolic difference between crown and coronet; fully understood the distinctions of 'thou' and 'thee'; and recognised the constitutional impossibility of a monarch giving away his kingdom as though it were in his personal gift. The Introduction also presents illuminating discussions on loyalty and disobedience (in which Oswald could conceivably be seen as an ideal servant and Kent a bad one), on the problem of illusion in Gloucester's attempted suicide (IV.6) and on the influence of writers such as Harsnett, Erasmus and Montaine. Plentiful examples of dramatic practice from the play's long stage history are skilfully integrated into these discussions, while its equally rich critical history - especially that of the C20 - is helpfully evaluated. The conclusion is that there can be no return to Christian redemptionist optimism on the one hand or to totally nihilistic interpretations on the other. A recognition of the play's complexity, paradoxes and contradictions have led many to feel, in the words of Richard Fly, 'a deep distrust of all attempts at closure' in King Lear.
Ultimately, therefore, this Arden³ is not as radical as rival editions. But it presents an honest, balanced and democratic version of the play in which judgements are occasionally forcefully expressed and occasionally left unresolved. It is comprehensive, authoritative and thought-provoking and should be of value to any serious student.
3 of 3 people found the following review helpful
Format:Paperback
The text itself is a conflated edition and the marks noting where it has been conflated are somewhat annoying. However, my main issue is, that on the first reading less than 24 hours after I bought it the pages are coming away from the glue binding them to the spine. I usually have a very high opinion of Arden edition Shakespeare but I have to say that this one has been shoddily constructed. Buy a more sturdy edition.
Format:Paperback
The Arden Shakespeare is an ideal script, guide and notes for students, young and old, although I would not recommend it to any studying lower than Advanced Level; the Oxford and Cambridge guides and notes are sufficient for GCSE and they have photographs of characters and performances to illustrate.
The Ardens have lengthy sections on backgrounds to the plays and copious annotations and notes on the script itself; on some pages, contingent on the complexity of the text concerned, the notes take up more of the page than the script itself (one reason for not recommending it below Advanced Level). It has a vast source of detail, history and information on the play. They are also very well produced, sewn sections glued in, making them strong and long lasting.
Highly recommended for Advanced Level students or above.
The Ardens have lengthy sections on backgrounds to the plays and copious annotations and notes on the script itself; on some pages, contingent on the complexity of the text concerned, the notes take up more of the page than the script itself (one reason for not recommending it below Advanced Level). It has a vast source of detail, history and information on the play. They are also very well produced, sewn sections glued in, making them strong and long lasting.
Highly recommended for Advanced Level students or above.
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Most Recent Customer Reviews
Dodgy book binding, great edition though
The edition itself is brilliant as far as its content. It gives detailed notes, with definitions, context etc. throughout underneath the text itself. Read more
Published 8 months ago by The walrus
A good but not an excellent Lear
Despite the strange comment about 'victorian jokes' by Blackburn above, there is quite a lot of truth in his review. Read more
Published 16 months ago by Mr. Russell Boxer
King Lear
'King Lear' is probably one of my favourite Shakespeare plays and is currently the one most studied at A-Levels. Read more
Published on 3 Nov 2007 by Spider Monkey
The Arden Lear (Good or bad?)
No one is disputing that King Lear is a great play. It is. The story of the king attempting to hand over his kingdom to his children, and having everything go horribly wrong, is... Read more
Published on 14 Nov 2002 by J B Blackburn
Rich, Powerful and Tragic
The tale of Lear's betrayal by his family and subsequent tragic descent into madness is powerfully gripping. Read more
Published on 24 Aug 2001 by anon
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