As You Like It: Third Series (The Arden Shakespeare Third Series)
Product ID: 55066757
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With its explorations of sexual ambivalence, As You Like It speaks directly to the twenty-first century. Juliet Dusinberredemonstrates that Rosalind's authority in the play grows from new ideas about women and reveals that Shakespeare's heroine reinvents herself for every age. But the play is also deeply rooted in Elizabethan culture and through it Shakespeare addresses some of the hotly debated issues of the period."This will be the definitive edition of As You Like It for many years to come" - Phyllis Rackin, University of Pennsylvania Review: A Major Third - We might expect an academic who has made her name as a feminist critic to find something interesting to say about 'As You Like It'. Juliet Dusinberre doesn't disappoint. Although its aspects of performance history can be a little wearisome, her Introduction is richly rewarding. Not surprisingly, she makes much of the play's cross-dressing and role-playing (boy playing woman playing man etc.). She finds questions of gender much more ambiguous and complex than they first appear and presents an account of a play in which liberating modes of behaviour can be adopted as easily as costumes can be donned. It is a play which 'redefines gender'. Equally subversive, she thinks, are the play's allusions to Robin Hood. Duke Senior's comradely courtiers are partners rather than subjects, and his court more communal than hierarchic. Together with the animal welfare concerns expressed in the play, the Duke's vegetarian tendencies (which echo the real-life courtier John Harington's) and Orlando's 'challenge to primogeniture' (it is he, after all, who inherits a dukedom), the 'alternative', revolutionary elements of AYL are neatly drawn attention to. There are some inspired insights. Touchstone's 'dreadful joke', as Dusinberre calls it (about pancakes in 1.2), makes sense if the court performance at Richmond Palace took place on the Shrove Tuesday of 1599, as she thinks highly likely. She further suggests that some of the play's exotic features (like the lion in 3.2.) were matched by the elaborate wood carvings in Richmond's outer court, while Rosalind's reference to Troilus not dying for love might have been accompanied by a gesture to the tapestry depicting Troy hanging in Richmond's Great Hall where plays were performed. In essence, therefore, she sees the palace as the 'perfect ambience' for the play, with its sense of rural retreat and with deer roaming outside its west wall. But Dusinberre is careful to present the Forest of Arden as more than just a fairy-tale rural retreat. It is a place that represents the challenge of the unfamiliar and of harsh political exile. It is also a place which reflects the real, contemporary world of displacement brought about by land enclosure and political instability (in the year of Essex's fateful Irish campaign). The Introduction is also radical and illuminating in its discussion of Elizabethan play reading. Dusinberre argues that AYL is particularly rewarding as a text to be read at leisure and that its wordplay is often better appreciated on the page than on the stage. She argues that puns such as Touchstone's 'faining/feigning' 'could only be appreciated by readers'. Dusinberre examines a recent school of thought (led by Lukas Erne) inclining to the view that not only did the printed word add an extra witty dimension, but that Shakespeare actively took readers into account when writing plays. The comprehensively researched Commentary is equally impressive. It bears testimony to the rich heritage of Shakespearean scholarship which has unearthed a staggering amount of detail about the halcyon period of English drama, 1590-1610. This edition will probably allow for as full an appreciation of the play as is currently possible. Review: Superb! - As with all the most recent Arden editions of Shakespeare's plays this book is superb because of the incredibly detailed footnotes, ideal for any student wishing to study the play for an exam. I am confident that the Arden editions are the best available.
| Best Sellers Rank | 39,175 in Books ( See Top 100 in Books ) 10 in The Works of William Shakespeare 72 in Drama & Dramatists 319 in Drama (Books) |
| Customer Reviews | 4.6 out of 5 stars 204 Reviews |
J**S
A Major Third
We might expect an academic who has made her name as a feminist critic to find something interesting to say about 'As You Like It'. Juliet Dusinberre doesn't disappoint. Although its aspects of performance history can be a little wearisome, her Introduction is richly rewarding. Not surprisingly, she makes much of the play's cross-dressing and role-playing (boy playing woman playing man etc.). She finds questions of gender much more ambiguous and complex than they first appear and presents an account of a play in which liberating modes of behaviour can be adopted as easily as costumes can be donned. It is a play which 'redefines gender'. Equally subversive, she thinks, are the play's allusions to Robin Hood. Duke Senior's comradely courtiers are partners rather than subjects, and his court more communal than hierarchic. Together with the animal welfare concerns expressed in the play, the Duke's vegetarian tendencies (which echo the real-life courtier John Harington's) and Orlando's 'challenge to primogeniture' (it is he, after all, who inherits a dukedom), the 'alternative', revolutionary elements of AYL are neatly drawn attention to. There are some inspired insights. Touchstone's 'dreadful joke', as Dusinberre calls it (about pancakes in 1.2), makes sense if the court performance at Richmond Palace took place on the Shrove Tuesday of 1599, as she thinks highly likely. She further suggests that some of the play's exotic features (like the lion in 3.2.) were matched by the elaborate wood carvings in Richmond's outer court, while Rosalind's reference to Troilus not dying for love might have been accompanied by a gesture to the tapestry depicting Troy hanging in Richmond's Great Hall where plays were performed. In essence, therefore, she sees the palace as the 'perfect ambience' for the play, with its sense of rural retreat and with deer roaming outside its west wall. But Dusinberre is careful to present the Forest of Arden as more than just a fairy-tale rural retreat. It is a place that represents the challenge of the unfamiliar and of harsh political exile. It is also a place which reflects the real, contemporary world of displacement brought about by land enclosure and political instability (in the year of Essex's fateful Irish campaign). The Introduction is also radical and illuminating in its discussion of Elizabethan play reading. Dusinberre argues that AYL is particularly rewarding as a text to be read at leisure and that its wordplay is often better appreciated on the page than on the stage. She argues that puns such as Touchstone's 'faining/feigning' 'could only be appreciated by readers'. Dusinberre examines a recent school of thought (led by Lukas Erne) inclining to the view that not only did the printed word add an extra witty dimension, but that Shakespeare actively took readers into account when writing plays. The comprehensively researched Commentary is equally impressive. It bears testimony to the rich heritage of Shakespearean scholarship which has unearthed a staggering amount of detail about the halcyon period of English drama, 1590-1610. This edition will probably allow for as full an appreciation of the play as is currently possible.
T**N
Superb!
As with all the most recent Arden editions of Shakespeare's plays this book is superb because of the incredibly detailed footnotes, ideal for any student wishing to study the play for an exam. I am confident that the Arden editions are the best available.
L**M
Great
Great for if you’re studying this play for English or drama. Notes are clear and helpful.
J**H
As You Like It
I would rate this read as satisfactory because although it was an enjoyable and lively read the characters swapped partners and roles at too many different points in the play making for a very confusing read. There was lots of comedy in there however and worth reading. However, I don't intend reading it a second time.
R**R
All the text, notes and research
Before buying this edition, consider carefully your purpose. If reading the text quickly is the intention, this is not a recommended text as there are so many details notes and comments. Ideal for research at a high level. If the intention is to study and research in details, this text is ideal, e.g. often half the page is notes and comments, so no turning backwards and forwards to references. Excellent edition but consider carefully the purpose of your reading. If having nothing but the text on a page for uninterrupted reading is what you require, this is not the edition for you.
M**.
All you'd expect from Arden edition
Lots and lots of notes and context. Good if you're studying. If you just want the play txt you could probably get a cheaper edition.
A**R
The notes were great
Great book even better with little notes down the margin helped put other ideas out there
R**Y
It is fine for my needs and was delivered promptly
Just what I wanted and needed.We are rehearsing this play for our open air theatre performance in Walthamstow at the end of June 2018.The book was ordered as "used"but just has some notes made in pencil by the previous owner.It is fine for my needs and was delivered promptly.Can not say much more about the purchase at the moment.I do not know the play but will be getting to know and understand the play as our rehearsals progress.I can happily give another review at a later date if requested.
R**E
Simply the best Shakespeare experience.
If you’re like me and we’re not born 400 years ago in England, the wonderfully rich notes in this volume are indispensable to a full appreciation of the play.
M**E
Completo e approfondito
Ho comprato questo testo per un corso universitario. Ha delle ottime note a piè di pagina, sono molto chiare e approfondite. Anche le 140 pagine di introduzione e le appendici finali sono essenziali per un quadro completo dell'opera. Consiglio a chiunque voglia approfondire questo testo in maniera completa
C**N
Acheté pour les cours, aucun souvenir
Aucun souvenir, autant d'autres livres que j'ai dû acheter pour les cours m'ont marquée, autant celui là aucun souvenir, je ne sais même plus où il est. Après qui achète ça autrement que pour les études ?
A**E
Wie erwartet!
Shakespeare ist eben Shakespeare. Selber lesen!!!
T**R
No complaints.
In good shape, came quickly. Arden editions are the most actor friendly by far. Helpful footnotes, useful essays, and the editors stay true to the original folios.
Trustpilot
3 weeks ago
3 days ago