All's Well That Ends Well by William Shakespeare, Jonathan Bate

By William Shakespeare, Jonathan Bate

"A younger guy married is a guy that's marr'd."
--All's good That Ends Well

Eminent Shakespearean students Jonathan Bate and Eric Rasmussen supply a clean re-creation of this vintage play approximately gender, hope, and sexual love.

THIS quantity additionally comprises greater than 100 PAGES OF unique FEATURES:

• an unique advent to All's good That Ends Well
• incisive scene-by-scene synopsis and research with important evidence concerning the work
• observation on earlier and present productions in keeping with interviews with major administrators, actors, and designers
• pictures of key RSC productions
• an outline of Shakespeare's theatrical profession and chronology of his plays

Ideal for college kids, theater pros, and basic readers, those smooth and available variations from the Royal Shakespeare corporation set a brand new regular in Shakespearean literature for the twenty-first century.

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Additional resources for All's Well That Ends Well

Example text

He is constantly concerned about the nature of George’s language in front of Honey (ironically, he doesn’t make any protestations about Martha’s equally strong language). And whereas he will openly flirt with Martha and dance sensually with her, he is offended if George makes even the slightest reference to Honey’s sexuality. Nick, while slow in recognizing George and Martha’s child as being a product of the imagination, does finally realize their plight, and, as a result, is horrified by the realization.

In view of the fact that she refuses to face the reality of childbearing, it therefore follows that her actions are those of an adult child, and her husband, Nick, will often treat her as one by trying to protect her from certain language, from sexual references, and by constantly overseeing her actions. Her childlikeness is further emphasized by her habit of gurgling, being obtuse to the reality of the situation around her, and ultimately, by curling up in a fetal position when she is drunk and peeling the labels off liquor bottles.

While Nick is holding her, George flippantly and triumphantly tells her: “Now listen, Martha; listen carefully. We got a telegram; there was a car accident, and he’s dead. POUF! Just like that! ) Martha continues to attack George’s presumption that he can make such a decision by himself. The building of the illusion had been a joint effort; thus, she feels betrayed that the illusion is suddenly destroyed. Since the illusion had been so completely a part of her life, its destruction is a deathblow as strong as real physical death.

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