Burza

The Wordsworth Classics’ Shakespeare Series, with Romeo and Juliet, Henry V and The Merchant of Venice as its inaugural volumes, presents a newly-edited sequence of William Shakespeare’s works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal.

Its lyricism, comedy (both broad and subtle) and magical transformations have long made A Midsummer Night’s Dream one of the most popular of Shakespeare’s works. The supernatural and the mundane, the illusory and the substantial, are all shimmeringly blended. Love is treated as tragic, poignant, absurd and farcical. ‘Lord, what fools these mortals be!’, jeers Robin Goodfellow; but the joke may be on him and on his master Oberon when Bottom the weaver, his head transformed into that of an ass, is embraced by the voluptuously amorous Titania.

Recent stage-productions of A Midsummer Night’s Dream have emphasised the enchanting, spectacular, ambiguous and erotically joyous aspects of this magical drama which culminates in a multiple celebration of marriage.

Arthur Miller's extraordinary masterpiece, Death of a Salesman changed the course of modern theatre, and has lost none of its power as an examination of American life.

'A man is not an orange. You can't eat the fruit and throw the peel away'

Willy Loman is on his last legs. Failing at his job, dismayed at his the failure of his sons, Biff and Happy, to live up to his expectations, and tortured by his jealousy at the success and happiness of his neighbour Charley and his son Bernard, Willy spirals into a well of regret, reminiscence, and A scathing indictment of the ultimate failure of the American dream, and the empty pursuit of wealth and success, is a harrowing journey. In creating Willy Loman, his destructively insecure anti-hero, Miller defined his aim as being 'to set forth what happens when a man does not have a grip on the forces of life'.

Walencjo, młody mężczyzna żądny nowych doświadczeń życiowych, wyrusza do Mediolanu. Jego przyjaciel Protej skrycie kocha się w Julii, nie chce jej opuszczać i pomimo namów Walencja pozostaje w Weronie.

Julia także skrycie kocha Proteja, wreszcie wyznają sobie miłość. Niestety wkrótce jego ojciec postanawia wysłać go do Mediolanu, by towarzyszył Walencjowi na dworze księcia. Kochankowie żegnają się, przyrzekając sobie wierność, jednak po przybyciu Proteja do Mediolanu sytuacja się komplikuje…

Jedna z pierwszych sztuk Szekspira, komedia romantyczna poruszająca problem konfliktu pomiędzy męską przyjaźnią a miłosnym afektem. Wyróżnia się postać Lancy, błazeńskiego służącego Proteja, mówiącego żywą, potoczną prozą.

Baptista, bogaty szlachcic z Padwy, stawia swoim córkom ultimatum. Bianka, młodsza z sióstr, nie może wyjść za mąż, dopóki Katarzyna tego nie zrobi. O ile jednak Bianka jest spokojna i łagodna, a o jej względy zabiegają liczni zalotnicy, o tyle Katarzyna to prawdziwa złośnica i buntowniczka, którą trudno przekonać do małżeństwa.

Ciekawie napisana biografia pisarza
Kalendarium jego życia i twórczości
Precyzyjnie określone: rodzaj i gatunek literacki utworu
Szczegółowe plany wydarzeń
Dokładne streszczenia
Wyczerpujące charakterystyki postaci
Problematyka

The Wordsworth Classics' Shakespeare's Series presents a newly-edited sequence of William Shakespeare's works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal.

The Taming of the Shrew is one of the most famous and controversial of Shakespeare’s comedies. The central relationship, in which Petruchio boisterously ‘tames’ a rebellious Kate, has often appeared problematic. In the theatre, it has been treated in a diversity of ways, so that Kate’s apparent capitulation varies between the ironic and the sincere. Feminists have been divided in their responses. The provocative vitality of this comedy has been transmitted by numerous adaptations for stage and screen, notably the film directed by Franco Zeffirelli and the Cole Porter musical, Kiss Me, Kate.