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"The Arden3 Hamlet is fascinating, and every Shakespeare scholar will want to possess it. The editors' approach is attuned to the relativism, pluralism, and skepticism of our time, and it is defended with remarkable thoroughness and intelligence....Thompson and Taylor's introductory material is in line with their treatment of the text...they are concerned to introduce the reader to the multitude of diverse critical approaches and to the variety within the developing theatrical tradition. They do this very well, and their discussion of Hamlet on stage and screen and of its offshoots in drama and fiction fills a notable gap...The full and consistently interesting commentary is also enlivened by snippets of information about performances...Thompson and Taylor have made an innovative and stimulating contribution to the Arden3 series."--"Shakespeare Quarterly """ "Hamlet...has been given a rebirth of sorts by editors Ann Thompson and Neil Taylor...puts the final pieces of the "puzzle of Hamlet" into place by publishing...updated versions of both the First Quarto and First Folio editions of the play. This wonderful ternion gives the serious students of Hamlet everything they need to delve deeply into the Dane. The textual annotations are extensive and worth the price of the book alone. None of the material is duplicated from the Hamlet: Arden Third Series, so this is all new commentary from two of the brightest minds in the world of Shakespeare... Delivers the quality you've come to expect from Arden."--PlayShakespeare.com
Product Description
This volume gives readers the First Quarto text of 1603 and the Folio Text of 1623, modernised and edited to the usual Arden standard. As a companion to the Second Quarto volume, it will be of particular interest to scholars and students of textual history, or to anyone studying Hamlet at an advanced level. Both plays are edited and annotated and the introduction contains the fullest available stage history of the First Quarto text.
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Both the introduction and the commentary are designed to present the plays as texts for performance, and make appropriate reference to stage, film and television versions, as well as introducing the reader to the range of critical approaches to the plays. Read the first page Browse Sample Pages
Copyright | Table of Contents | Index | Back Cover
Both the introduction and the commentary are designed to present the plays as texts for performance, and make appropriate reference to stage, film and television versions, as well as introducing the reader to the range of critical approaches to the plays. Read the first page Browse Sample Pages
Copyright | Table of Contents | Index | Back Cover
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Paperback
In these two Arden Hamlet books, Thompson and Taylor feast the reader on the authentic meat of the texts, in a format fully accessible to the modern reader; this second, companion edition provides the second course and the dessert, a delicious feast that duly celebrates this tragic masterpiece.
The second text in the Arden Shakespeare series gives us a direct look at the two other texts of Hamlet, the so-called bad quarto of 1603 and the version of the play from the First Folio of 1623. This complements the first book in this series and together these two Arden Hamlet books provide the general reader with the three extant texts of Shakespeare's masterpiece, a wonderful opportunity to see first-hand, in modernized and scholarly versions the sources for the play.
Thompson and Taylor, in this text, provide a 37 page introduction that puts these texts in their relational context to the Second Quarto text of 1604-5, showcased in the companion volume. This introduction does a great service by documenting the history of productions of the 1603 (bad) Quarto. As Thompson and Taylor inform us, this 1603 text may give us a view (however imperfect) of a version of the play as it was set on stage by Shakespeare in his day. This 1603 Hamlet uses different spellings for the names of several characters or gives them different names entirely, adds new scenes, changes the order of events (most famously by moving the "To be or not to be" soliloquy), and sheds many of the poetic flourishes of the more complete versions. In doing so, it does give a very stage-worthy version of the play, often referred to a more muscular, direct and demotic Hamlet.
The 1603 text does introduce some infelicities of language that do jar our sensibilities, indoctrinated to "purer" or more "refined" versions of the play, but this play does preserve in fairly good measure the bulk of the play as we have come to know it. Indeed, as the introduction outlines, even those daring directors who have staged this Hamlet sometimes "corrected" the jarring passages with the approved versions. Yet some productions put this version on stage, warts and all, and so provided another view of this great play, perhaps akin to what Glenn Gould did with the Brahms Piano Concerto No. 1 with Leonard Bernstein and the New York Philharmonic on 6 April 1962. Such a production, as with Gould's interpretation of Brahms, gives the viewer (reader) a different perspective on this well known pillar of literature, and such creative efforts help liberate our imaginations.
This Arden Hamlet ends with the magisterial version of the play from the First Folio. This is the play much as we have come to know it, as preserved by Shakespeare's friends and coworkers after his death. The great thing about this presentation of the texts by Thompson and Taylor is that they do give us the text as we have it, including the odd word or phrase that appears unwarranted or unusual, but may also often work. The detailed notes always make the connection to alternate words or phrases, usually drawn from the good quarto version of the play that editors have often selected to replace the seeming foul words.
The second text in the Arden Shakespeare series gives us a direct look at the two other texts of Hamlet, the so-called bad quarto of 1603 and the version of the play from the First Folio of 1623. This complements the first book in this series and together these two Arden Hamlet books provide the general reader with the three extant texts of Shakespeare's masterpiece, a wonderful opportunity to see first-hand, in modernized and scholarly versions the sources for the play.
Thompson and Taylor, in this text, provide a 37 page introduction that puts these texts in their relational context to the Second Quarto text of 1604-5, showcased in the companion volume. This introduction does a great service by documenting the history of productions of the 1603 (bad) Quarto. As Thompson and Taylor inform us, this 1603 text may give us a view (however imperfect) of a version of the play as it was set on stage by Shakespeare in his day. This 1603 Hamlet uses different spellings for the names of several characters or gives them different names entirely, adds new scenes, changes the order of events (most famously by moving the "To be or not to be" soliloquy), and sheds many of the poetic flourishes of the more complete versions. In doing so, it does give a very stage-worthy version of the play, often referred to a more muscular, direct and demotic Hamlet.
The 1603 text does introduce some infelicities of language that do jar our sensibilities, indoctrinated to "purer" or more "refined" versions of the play, but this play does preserve in fairly good measure the bulk of the play as we have come to know it. Indeed, as the introduction outlines, even those daring directors who have staged this Hamlet sometimes "corrected" the jarring passages with the approved versions. Yet some productions put this version on stage, warts and all, and so provided another view of this great play, perhaps akin to what Glenn Gould did with the Brahms Piano Concerto No. 1 with Leonard Bernstein and the New York Philharmonic on 6 April 1962. Such a production, as with Gould's interpretation of Brahms, gives the viewer (reader) a different perspective on this well known pillar of literature, and such creative efforts help liberate our imaginations.
This Arden Hamlet ends with the magisterial version of the play from the First Folio. This is the play much as we have come to know it, as preserved by Shakespeare's friends and coworkers after his death. The great thing about this presentation of the texts by Thompson and Taylor is that they do give us the text as we have it, including the odd word or phrase that appears unwarranted or unusual, but may also often work. The detailed notes always make the connection to alternate words or phrases, usually drawn from the good quarto version of the play that editors have often selected to replace the seeming foul words.
2 of 5 people found the following review helpful
Format:Paperback
In the great tradition of the Arden editions of Shakespeare, this is worthy addition to the series. Super scholarship for the serious student.
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15 of 15 people found the following review helpful
Hamlet: A Fresh Look at the Danish Prince
10 Jan 2007
Format:Hardcover|Amazon Verified Purchase
The folks at Arden decided to bring forth all three versions of Shakespeare's revenge (or anti-revenge) tragedy so that those who care can study the similarities and differences between the texts for themselves. I teach many Shakespearean plays and using the "bad quarto" of 1603 in conjunction with the oft used conflated text is an eye-opener for students who get a chance to truly engage in the text when comparing, say, Hamlet's third act soliloquy of the Folio (1623) version with the often maligned 1603 version. As usual, the people at Arden do an excellent job at editing the works. This is an excellent companion piece to the recently released third edition of Hamlet by the same editors of the 1604 Quarto text. A welcome addition to any Bardolators library.
17 of 18 people found the following review helpful
Beyond The Cosmic Doors
6 Mar 2007
Format:Hardcover
This is a must-have for any of us Bardolators.
I'll reserve my thoughts on the play itself for the Second Quarto Edition of Arden, and give here some thoughts on the editions themselves. In brief. Well, to begin with, I've found the ability to read three variations of Hamlet very useful. It's fun, and it's acutely rewarding, especially if you're even slightly obsessed. The beauty of the editions is in the wealth of information; and to clarify, this edition doesn't repeat - in bulk - things already stated in the 1605 edition but concentrates on textual matters that arise from these two texts.
Firstly, I recommend buying both editions. In fact, I own several Hamlets, so I'd recommend buying pretty much what you like of Hamlet. I prefer, just for fun, to go from one edition to the other. It gives you perspective not only to the wealth of literary criticism poured from the heavens in the name of Hamlet, it also gives a healthy perspective on the seemingly infinite possibilities of editorial choice. Arden is succint and it's informative. But I'm still the most interested in the text itself, so if you're looking for an edition in which the annotation doesn't distract from the play, this is a great edition whereas the 1605 is not. That's because this edition is designed as an add-on to the stand-alone Second Quarto edition, thus liberating it from undertaking a thorough annotation. This gives an opportunity to dwell in not the contextual but textual differences, simply put a pseudo-linguist's dream come true.
These are editions that should be both acquired; what you can't get with the 1605 is the extensive research on the textual differences of the quartos/folios. And it's different to have the First Quarto/Folio passages in the appendix (as the 1605 has) to reading them fully in context, having the language and arrangement of action creating a deeper understanding the changes themselves. Whereas the 1605 edition is a treasure chest of supplements, this is constructed more pragmatically; the only qualm I have against the single edition is that if you want to read the text without annotation, which I often do, and only once in a while looking for the overbearing annotation, you can't really do it. This edition gives a chance. I am an Orthodox Shakespearean myself in that I regard Shakespeare might've authored, at least collaborated on, the much-debated Ur-Hamlet, and whether you agree or not, this gives an interesting perspective on the whole idea of how the text of Hamlet has been revised not during hundreds of years, but between the short and artistically fruitful timespan of some thirty years of Shakespeare's life.
I'll reserve my thoughts on the play itself for the Second Quarto Edition of Arden, and give here some thoughts on the editions themselves. In brief. Well, to begin with, I've found the ability to read three variations of Hamlet very useful. It's fun, and it's acutely rewarding, especially if you're even slightly obsessed. The beauty of the editions is in the wealth of information; and to clarify, this edition doesn't repeat - in bulk - things already stated in the 1605 edition but concentrates on textual matters that arise from these two texts.
Firstly, I recommend buying both editions. In fact, I own several Hamlets, so I'd recommend buying pretty much what you like of Hamlet. I prefer, just for fun, to go from one edition to the other. It gives you perspective not only to the wealth of literary criticism poured from the heavens in the name of Hamlet, it also gives a healthy perspective on the seemingly infinite possibilities of editorial choice. Arden is succint and it's informative. But I'm still the most interested in the text itself, so if you're looking for an edition in which the annotation doesn't distract from the play, this is a great edition whereas the 1605 is not. That's because this edition is designed as an add-on to the stand-alone Second Quarto edition, thus liberating it from undertaking a thorough annotation. This gives an opportunity to dwell in not the contextual but textual differences, simply put a pseudo-linguist's dream come true.
These are editions that should be both acquired; what you can't get with the 1605 is the extensive research on the textual differences of the quartos/folios. And it's different to have the First Quarto/Folio passages in the appendix (as the 1605 has) to reading them fully in context, having the language and arrangement of action creating a deeper understanding the changes themselves. Whereas the 1605 edition is a treasure chest of supplements, this is constructed more pragmatically; the only qualm I have against the single edition is that if you want to read the text without annotation, which I often do, and only once in a while looking for the overbearing annotation, you can't really do it. This edition gives a chance. I am an Orthodox Shakespearean myself in that I regard Shakespeare might've authored, at least collaborated on, the much-debated Ur-Hamlet, and whether you agree or not, this gives an interesting perspective on the whole idea of how the text of Hamlet has been revised not during hundreds of years, but between the short and artistically fruitful timespan of some thirty years of Shakespeare's life.
1 of 1 people found the following review helpful
More Views on Hamlet
23 Feb 2012
Format:Paperback
In these two Arden Hamlet books, Thompson and Taylor feast the reader on the authentic meat of the texts, in a format fully accessible to the modern reader; this second, companion edition provides the second course and the dessert, a delicious feast that duly celebrates this tragic masterpiece.
The second text in the Arden Shakespeare series gives us a direct look at the two other texts of Hamlet, the so-called bad quarto of 1603 and the version of the play from the First Folio of 1623. This complements the first book in this series and together these two Arden Hamlet books provide the general reader with the three extant texts of Shakespeare's masterpiece, a wonderful opportunity to see first-hand, in modernized and scholarly versions the sources for the play.
Thompson and Taylor, in this text, provide a 37 page introduction that puts these texts in their relational context to the Second Quarto text of 1604-5, showcased in the companion volume. This introduction does a great service by documenting the history of productions of the 1603 (bad) Quarto. As Thompson and Taylor inform us, this 1603 text may give us a view (however imperfect) of a version of the play as it was set on stage by Shakespeare in his day. This 1603 Hamlet uses different spellings for the names of several characters or gives them different names entirely, adds new scenes, changes the order of events (most famously by moving the "To be or not to be" soliloquy), and sheds many of the poetic flourishes of the more complete versions. In doing so, it does give a very stage-worthy version of the play, often referred to a more muscular, direct and demotic Hamlet.
The 1603 text does introduce some infelicities of language that do jar our sensibilities, indoctrinated to "purer" or more "refined" versions of the play, but this play does preserve in fairly good measure the bulk of the play as we have come to know it. Indeed, as the introduction outlines, even those daring directors who have staged this Hamlet sometimes "corrected" the jarring passages with the approved versions. Yet some productions put this version on stage, warts and all, and so provided another view of this great play, perhaps akin to what Glenn Gould did with the Brahms Piano Concerto No. 1 with Leonard Bernstein and the New York Philharmonic on 6 April 1962. Such a production, as with Gould's interpretation of Brahms, gives the viewer (reader) a different perspective on this well known pillar of literature, and such creative efforts help liberate our imaginations.
This Arden Hamlet ends with the magisterial version of the play from the First Folio. This is the play much as we have come to know it, as preserved by Shakespeare's friends and coworkers after his death. The great thing about this presentation of the texts by Thompson and Taylor is that they do give us the text as we have it, including the odd word or phrase that appears unwarranted or unusual, but may also often work. The detailed notes always make the connection to alternate words or phrases, usually drawn from the good quarto version of the play that editors have often selected to replace the seeming foul words.
The second text in the Arden Shakespeare series gives us a direct look at the two other texts of Hamlet, the so-called bad quarto of 1603 and the version of the play from the First Folio of 1623. This complements the first book in this series and together these two Arden Hamlet books provide the general reader with the three extant texts of Shakespeare's masterpiece, a wonderful opportunity to see first-hand, in modernized and scholarly versions the sources for the play.
Thompson and Taylor, in this text, provide a 37 page introduction that puts these texts in their relational context to the Second Quarto text of 1604-5, showcased in the companion volume. This introduction does a great service by documenting the history of productions of the 1603 (bad) Quarto. As Thompson and Taylor inform us, this 1603 text may give us a view (however imperfect) of a version of the play as it was set on stage by Shakespeare in his day. This 1603 Hamlet uses different spellings for the names of several characters or gives them different names entirely, adds new scenes, changes the order of events (most famously by moving the "To be or not to be" soliloquy), and sheds many of the poetic flourishes of the more complete versions. In doing so, it does give a very stage-worthy version of the play, often referred to a more muscular, direct and demotic Hamlet.
The 1603 text does introduce some infelicities of language that do jar our sensibilities, indoctrinated to "purer" or more "refined" versions of the play, but this play does preserve in fairly good measure the bulk of the play as we have come to know it. Indeed, as the introduction outlines, even those daring directors who have staged this Hamlet sometimes "corrected" the jarring passages with the approved versions. Yet some productions put this version on stage, warts and all, and so provided another view of this great play, perhaps akin to what Glenn Gould did with the Brahms Piano Concerto No. 1 with Leonard Bernstein and the New York Philharmonic on 6 April 1962. Such a production, as with Gould's interpretation of Brahms, gives the viewer (reader) a different perspective on this well known pillar of literature, and such creative efforts help liberate our imaginations.
This Arden Hamlet ends with the magisterial version of the play from the First Folio. This is the play much as we have come to know it, as preserved by Shakespeare's friends and coworkers after his death. The great thing about this presentation of the texts by Thompson and Taylor is that they do give us the text as we have it, including the odd word or phrase that appears unwarranted or unusual, but may also often work. The detailed notes always make the connection to alternate words or phrases, usually drawn from the good quarto version of the play that editors have often selected to replace the seeming foul words.
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