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"Each edition includes: "
- Freshly edited text based on the best early printed version of the play
- Full explanatory notes conveniently placed on pages facing the text of the play
- Scene-by-scene plot summaries
- A key to famous lines and phrases
- An introduction to reading Shakespeare's language
- An essay by an outstanding scholar providing a modern perspective on the play
- Illustrations from the Folger Shakespeare Library's vast holdings of rare books
"Essay by" Michael Neill
The Folger Shakespeare Library in Washington, D.C., 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 www.folger.edu.
- Sales Rank: #906202 in Books
- Published on: 2003-07-01
- Original language: English
- Number of items: 1
- Dimensions: 6.72" h x 1.27" w x 4.39" l, .53 pounds
- Binding: Library Binding
About the Author
William Shakespeare (26 April 1564 – 23 April 1616) was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet, and the "Bard of Avon". His extant works, including collaborations, consist of approximately 38 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.
Most helpful customer reviews
2 of 2 people found the following review helpful.
An older edtion of Norton's Hamlet, but still excellent
By Bryan Byrd
This review is for the Norton Critical Edition of Hamlet, Second Edition, published in 1992. Readers of this review, if they are not aware of it already, may be interested to know that there is a newer version of this format, with apparently a completely revamped table of contents, which they can find here. I say apparently, because I have not had a chance to compare these two editions, and can only judge from the thumbnail description on the new edition's product page.
Like a few other reviewers for this edition, I am not going to spend much time discussing the play itself, as my comments would no doubt just look silly compared to the huge body of critical literature that already exists. The purpose of this review is more for discussing the supplemental material in this edition, to perhaps help others decide if this edition is sill sufficient for their needs..
First of all, the text of the play, edited here by Cyrus Hoy, is based on the second quarto (sullied--or actually, sallied in this case--rather than solid, for those who understand the distinction.) While not downplaying the differences, from my layman's point of view, I have too many other things to wrestle with in reading the play, and scholarly arguments concerning the differences between the first folio and the second quarto are beyond my ability to comment on. In a preface to this edition, editor Cyrus Hoy touches briefly on those differences and justifies his choices, and that was good enough for me.
After the body of the play comes a section titled 'Intellectual Backgrounds', which are an attempt to provide the reader with the cultural and intellectual mindset of the period when Shakespeare composed the play. What did the late Sixteenth Century intellectuals think about melancholy? or ghosts? or the nature of man himself? Excerpts from Montaigne's essays and other authors of the time are included in order to give unfamiliar readers the context in which to understand the actions of the play's characters, as well as their likely thoughts. On the heels of that section is 'Extracts from the Sources,' which include Saxo Grammaticus and Belleforest. I'd never given much thought to the source material that Shakespeare drew on to provide the basis for his play, so I found learning about them enlightening. In the end, I'm glad both the 'Intellectual Backgrounds' and the 'Extracts from the Sources' were included, as opposed to a summary written in contemporary English, summing up the pertinent ideas. Although reading through 16th Century prose can be taxing, these readings brought home to me the fact that HAMLET did not just arise out of a vacuum, which--if I had ever stopped to think about it--was probably my general conception.
The last section--'Essays in Criticism'--is really the reason I seek out any Norton Critical Edition. Of the twenty-three pieces, nine are from the 18th and 19th Centuries (including the thoughts of Samuel Johnson, Goethe, Coleridge and William Hazlitt). 20th century writers include D,H. Lawrence, T. S, Eliot, C. S. Lewis, and Rebecca West, among others. Some of these critical pieces attempt to interpret the play in its totality, while others concentrate on individual ideas expressed by the characters and their actions.
This is the third Norton Critical Edition I've read ( Heart of darkness and Oedipus Tyrannus the others), and I think I've finally figured out how to use them. In all honesty, I was looking for the criticism in the back to explain these texts--something which might be possible with some literature (though I'm not even sure about that), though doubtfully very difficult with these three examples no matter WHO is doing the explication. When I was looking for answers--when I was looking for someone to tell me what to think about them (even though I didn't realize that's what I was doing)--I was disappointed. Hats off here to Cyrus Hoy's editorial efforts--it finally penetrated even this thick head that the arrangement of the supplemental material is not designed to give answers, but to provide enough information and guidance that the reader can pursue their own thoughts about the text.
Concerning the essays themselves, it seems to me that the play's ambiguity is like a lens, through which (inadvertently or no) the essayists tend to peer mostly at themselves. This is instructive in and of itself, and combined with what factual information they provide, I found the section very rewarding. I especially appreciated the last essay, by William Empson, for its dispassionate appraisal of how 16th century audiences might have perceived the play. Bearing in mind my insights regarding the revealing nature of people's opinions about HAMLET, I'm hesitant to offer any ideas of my own, for fear of what they might say about me. But, with hat in hand, I'll offer this point, which seemed key to me--whatever the reason for Hamlet's vacillation, in the end, it was Claudius' response to Hamlet's inactivity that set the tragedy in motion. One MIGHT say that Hamlet got his revenge, but events were construed in such a way that Hamlet--as he had only been capable of throughout the play--acted in a passion rather than by design. Hamlet's is a life lived in reaction, rather than action, and perhaps that is the tragedy.
Reading the play also brought to mind the different ways to experience it--reading a text as opposed to a stage or filmed version. Having already seen movie adaptations, I appreciated the ability to pay more attention to the details, but I think there is really no comparison to a well-acted version for getting across the nuance and the drama. In fact, reading the final scene on the page felt flat and disappointing, especially when thinking back to the filmed portrayal. I still don't know which is more valid; reading the lines myself, or watching actors perform them, but I'm glad I've had an opportunity to do both, and this second Norton edition was an excellent method of helping me to understand and appreciate the text.
10 of 13 people found the following review helpful.
Great play, amazing edition
By S. Yeung
Essentially, this Norton Critical edition is the best out there. While the notes may need some polishing, they are sparse to preserve the ambiguity of the play. The critical essays in the back are absolutely superb.
2 of 2 people found the following review helpful.
could be better but still good
By JWaters
My issue is with the footnotes to the play itself. They are, of course, helpful, but the format is such that trying to read becomes quite a chore. You cannot tell if there is a footnote for a word without looking at the bottom of the page (the footnote section), and, when you happen to look, you may find that there was a note for something earlier on the page. Then you read that note and try to find the word that you should have read the note for. There are perhaps 5 or 6 notes per page and after a while it gets very tedious. A better format, in my opinion, would be for the notes to be in a gloss on the margin, or for there to be either a number or asterisk IN the text itself telling you there's a note. I'm planning to start checking, before I read the page, and marking the words that have notes, but this would've been not too difficult for the editor to have done in the first place. You might think it should be obvious to you whether you need a note or not but that's actually not the case. You think you know what the word, phrase, or line means, but then you chance to find a note that tells you more. Or, as I said, you know you need a note and then find one that you didn't know you needed. It introduces quite a bit of distraction.
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