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Romeo and Juliet: Parallel Texts of Quarto I (1597) and Quarto 2 (1599) (Hardback)

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ISBN 10: 1611491029 / ISBN 13: 9781611491029
Edité par University of Delaware Press, United States, 2008
Neuf(s) Etat : New Couverture rigide
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A propos de cet article

Language: English . Brand New Book. Using this edition, the reader may see at once how Shakespeare s manuscript of the play, upon which the second quarto (Q2) is based, was adapted for the Elizabethan stage by the author and/or his colleagues. Q1 is considerably shorter than Q2. While many long speeches are cut, abbreviated, or revised, the structure of the play remains essentially as Shakespeare originally conceived it. Q1 is thus quite different, for instance, from Q1 Hamlet, whose provenance is still open to debate. While both of these early quartos were once believed to be memorial reconstructions, and thus Bad quartos, the theory of memorial reconstructions has now been seriously disputed. N° de réf. du libraire ANB9781611491029

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Détails bibliographiques

Titre : Romeo and Juliet: Parallel Texts of Quarto I...

Éditeur : University of Delaware Press, United States

Date d'édition : 2008

Reliure : Hardback

Etat du livre :New

A propos de ce titre

Synopsis :

Using this edition, the reader may see at once how Shakespeare's manuscript of the play, upon which the second quarto (Q2) is based, was adapted for the Elizabethan stage by the author and/or his colleagues. Q1 is considerably shorter than Q2. While many long speeches are cut, abbreviated, or revised, the structure of the play remains essentially as Shakespeare originally conceived it. Q1 is thus quite different, for instance, from Q1 Hamlet, whose provenance is still open to debate. While both of these early quartos were once believed to be memorial reconstructions, and thus 'Bad' quartos, the theory of memorial reconstructions has now been seriously disputed. One of the essays appended to Halio's edition, 'Handy-Dandy: Q1/Q2 Romeo and Juliet,' discusses this issue and brings fresh evidence to bear to show that Q1 Romeo is not truly a 'Bad' quarto, as A. W. Pollard long maintained. In another essay, Halio offers a brief stage history of Romeo and Juliet. Many non-authorial changes in the texts of Shakespeare's play were common in the eighteenth century. For example, Garrick introduced Juliet's spectacular funeral procession at the end of act 4, along with many new songs. Later, the American actress Charlotte Cushman removed many of these interpolations and restored much of Shakespeare's original text. Modern-dress productions of the play have often been staged, which introduced a good deal of modern technology into the action.

About the Author:

Jay L. Halio is professor emeritus of English at the University of Delaware.

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