Dramas históricos (Obra completa Shakespeare, Volume 3) by William Shakespeare

By William Shakespeare

Los mejores libros jamás escritos.

«Dulce, dulce veneno en l. a. boca de los angeles época.»
El Rey Juan, I, i

De entre todas las pasiones que Shakespeare retrató a lo largo de su extensa obra, los angeles fascinación por el poder es quizá una de las más oscuras; y en ella se centran todos sus dramas históricos. Más allá del episodio anecdótico, generalmente referido a momentos clave del auge de l. a. dinastía Tudor -de Ricardo II a Enrique VIII, de los angeles Guerra de las Dos Rosas a los inicios de los angeles reforma anglicana-, Shakespeare se interesa por el hombre que se oculta tras los angeles máscara de un monarca.

Dramas históricos es el tercer volumen de una colección de cinco que reúne los angeles obra completa de Shakespeare. Aquí se incluyen los angeles trilogía de Enrique VI, Ricardo III, El rey Juan, Ricardo II, las dos partes de Enrique IV, Enrique V y Enrique VIII. Estaedición, a shipment de Andreu Jaume, quien firma también l. a. introducción, presenta las mejores traducciones contemporáneas, respetando el verso y los angeles prosa originales. Un festín para todos los amantes de las buenas letras.

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Extra resources for Dramas históricos (Obra completa Shakespeare, Volume 3) (Penguin Clásicos)

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Carroll subscribed to the Theatre magazine and wrote two articles for it. Both wrote stories for children (Ruskin’s King of the Golden River and Carroll’s Alice in Wonderland were both much-reprinted classics of the genre). Both went to see Claudian three times, and Carroll’s comments directly echo those of Ruskin. 7 Ruskin and Carroll knew each other in Oxford and Carroll actually photographed Ruskin. E. Gladstone, who was Prime Minister during the years 1868–74, 1880–5, 1886 and 1892–4, had been brought up in a strict Scottish Presbyterian atmosphere and had inevitably imbibed the deep evangelical mistrust of the stage.

He saw Irving in Hamlet, Othello, Richard III, Romeo and Juliet, Much Ado About Nothing, Henry VIII and King Lear. But he also went to the Lyceum for Irving’s melodrama productions The Lady of Lyons, The Lyons Mail, Ravenswood, The Corsican Brothers, Faust and poetic dramas The Cup and Becket. Other visits to Shakespeare productions included Mary Anderson in Romeo and Juliet, Lillie Langtry in Antony and Cleopatra and Charles Fechter in Hamlet. But Gladstone’s theatregoing was nothing if not catholic.

35 As a member of the London School Board, Headlam pressed to have Unto This Last made compulsory reading. Embracing and expounding Ruskin’s views both on art and on society, Headlam became a thoroughgoing Ruskinian. The last straw for his bishop may well have been the enthusiastic lecture that Headlam, by now Curate of St Matthew’s, Bethnal Green, delivered to the Commonwealth Club on 7 October 1877 on the subject of theatre and music hall. A summary was published in the theatrical journal The Era (18 November 1877) under the heading ‘startling defence by clergyman’ and it was subsequently issued as a pamphlet.

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