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Twelfth Night is one of the most popular of Shakespeare's plays in the modern theatre, and this edition places particular emphasis on its theatrical qualities throughout. Peopled with lovers misled either by disguises or their own natures, it combines lyrical melancholy with broad comedy.
The introduction analyses its many views of love and the juxtaposition of joy and melancholy, while the detailed commentary pays particular attention to its linguistic subtleties.
Music is particularly important in Twelfth Night, and this is the only modern edition to offer material for all the music required in a performance. James Walker has re-edited the existing music from the original sources, and where noe exists has composed settings compatible with the surviving originals.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
- Sales Rank: #212989 in Books
- Published on: 2008-06-15
- Original language: English
- Number of items: 1
- Dimensions: 5.00" h x .80" w x 7.50" l, .60 pounds
- Binding: Paperback
- 256 pages
From School Library Journal
Grade 4-8-In this verbal and visual treat, readers have the opportunity to enjoy one of Shakespeare's best-loved comedies. Coville's author's note explains that his prose adaptation is "not meant as a replacement for the original, but as an appetizer for the greater feast still to come." Thus, the story is clear and carefully told, making it easy both to follow the primary and secondary plot lines and to appreciate the intricacies of their interweavings. Coville keeps the flavor of the playwright's poetic language by using actual quotes from the play and expressions and a formal sentence structure true to the style of Elizabethan times. Delightful full-page, colored pen-and-ink illustrations add just the right touch of humor to the already wacky tale. Raglin gives a distinctive identity to all of the characters, despite their attempted disguises, and he does a particularly good job of differentiating the buffoons of the subplot from the more realistically drawn dramatis personae. Colors and designs clearly suggest the Italian court dress of the times, and accurate architectural details add life to the settings. More suited to modern audiences than Charles and Mary Lamb's classic Tales from Shakespeare (Signet, 1986), and far better written than Jan Dean's Twelfth Night (Oxford, 2002), this is a version that will have young listeners begging to portray the Bard's scenes onstage. And, isn't that, after all, the whole point?-Nancy Menaldi-Scanlan, LaSalle Academy, Providence, RI
Copyright 2003 Reed Business Information, Inc.
From Booklist
Gr. 3-6. The latest in Coville's series of retold Shakespearean plays, this volume provides a short, prose version of Shakespeare's Twelfth Night, a romantic comedy that offers young people such promising elements as separated twins, a woman disguised as a man, a drunken buffoon, courtship, swordplay, mistaken identity, and a practical joke. Though simplified, the story is intact and bits of the original language are preserved. Large-scale ink drawings, warmed with tints of color and shaded with cross-hatching, clearly depict the action. As Coville states in his Author's Note, "Twelfth Night remains one of the most read and performed of Shakespeare's plays." Children looking for a preperformance introduction to the play's twisting plot will find this an appealing choice. Carolyn Phelan
Copyright � American Library Association. All rights reserved
Review
`The commentary on Twelfth Night is alive with the editors' feeling for the play in performance.' M.M. Mahoud, University of Kent, YES, 27, 1996
Most helpful customer reviews
12 of 12 people found the following review helpful.
Excellent addition to your 12 Night shelf
By Sammy Clemens
There are several really worthwhile editions of 12th Night, but don't overlook this one.
The Foreword and notes are excellent and useful; the format's sturdy and readable.
It's a good copy to have for the scholar/performer/director.
14 of 15 people found the following review helpful.
Understanding Shakespeare
By Amazon Customer
For a long time I would not let my students use No Fear because I wanted them to be able to read the play in Shakespeare's words, but when I tired to discuss the plays with them, I always felt like I was the only who read the play. (I use it for Hamlet as well.) After I let them use it the first time, I was so excited to hear my students' comments on the play because they actually understood what they were reading. When they write about the play and when we discuss it, we use Shakespeare's words. We also compare the modern words and Shakespeare's words. I really like the No Fears and recommend them to people who really want to understand Shakespeare. I have taught high school and am now teaching at a university, so I know the No Fears are great on both levels.
17 of 20 people found the following review helpful.
Naxos complete recording the best so far
By F. Behrens
Please notice that G.H.'s in-house review above does not refer to the recording pictured above, nor do any of the reviews so far. What follows refers only to the Naxos set.
There are now three complete recordings of available. We have the older and elegantly read version on Harper Audio with Dorothy Tutin as the best Viola of the lot. Acted with a bit more verve though with less poetry is the Arkangel Shakespeare recording with a Scottish Malvolio and a cast of younger sounding actors who are making names for themselves in Great Britain. However I am very impressed with the "Twelfth Night" that is one of the latest additions to the Naxos Classic Drama series.
By far, this is the best-produced "Twelfth Night." One actually feels he is hearing an actual stage performance with all of the action but with the loss of none of the poetry. Perhaps the Viola does sound a little maturer than imagination would have her and the Sir Toby Belch a little less belchy sounding than others. None of the Festes sing as marvelously as did Peter Pears on the long deleted Marlowe Society recording (also with Tutin); however, on this Naxos set David Timson stays nicely in tune--and directs the production to boot. And he keeps things moving neatly along, which is saying a lot for Shakespeare recordings.
The CD version has the advantage of excellent tracking cues for not only each scene but for key points within the scene. The Harper CDs give a new track only for each new scene and the tapes (of course) are quite useless in that regard. The Arkangel series at present exists only on tapes but they are planning to reissue the entire series on CDs. So this Naxos release is the one of choice so far.
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