Henry IV, Part I (Folger Shakespeare Library) by William Shakespeare

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By William Shakespeare

FOLGER Shakespeare Library
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Each version includes:
· Freshly edited textual content in keeping with the simplest early published model of the play
· complete explanatory notes very easily put on pages dealing with the textual content of the play
· Scene-by-scene plot summaries
· A key to recognized strains and phrases
· An advent to interpreting Shakespeare's language
· An essay by means of a number one Shakespeare pupil delivering a contemporary point of view at the play
· Illustrations from the Folger Shakespeare Library's immense holdings of infrequent books
Essay by Alexander Leggatt
The Folger Shakespeare Library in Washington, D.C., is domestic to the world's greatest number of Shakespeare's published works, and a magnet for Shakespeare students from all over the world. as well as exhibitions open to the general public all year long, the Folger bargains a whole calendar of performances and courses. for additional info, stopover at www.folger.edu.

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Extra info for Henry IV, Part I (Folger Shakespeare Library)

Sample text

These characteristics may be visualized as a series of plastic shapes of various sizes oriented on the same axis, sometimes partially or completely overlapping each other. Each action shape is made up of many parts-smaller actions that fit together to make the whole. Some of the shapes (the static mode) are rectangular and do not change as they extend through time. Other shapes (the transitional mode) repeat the same configuration over and over. Others (the mode of memory/expectancy) expand, grow narrow, curve, and twist; they have points of varying sharpness, indicating their momentum.

Even so, if what is put into the work is what is supposed to be taken out, we have the communication mQdel. In a performance built upon this model, as most performances are, every element is intended to convey meaning or to aid in the process of decoding that meaning. If certain formal qualities are present, that is acceptabe, but they, too, are related to, and subservient to, meaning. We could diagram the experience of this kind of theatre as a triangle with meaning at the upper vertex. Figuratively, it rises over all the other elements or aspects of the presentation; all the rest are there only to support the meaning.

T tD ....... ,c:: L't tD o .... ,0' 3 GJ ~ n to 30 DYSART: (shaking hands) Mrs. Strang. DORA: Mr. Strang's still at the Press, I'm afraid. He should be home in a minute. DYSART: He works Sundays as well7 DORA: Oh, yes. He doesn't set much store by Sundays. (Equus by Peter Shaffer [1,7]) If one gets the feeling that this information will be useful, an expectation, which can be represented by an arrow, has been set up. Perhaps, later in the performance, the arrow will reach its target; the syntactic connection will be made.

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