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Book As You Like It (Shakespeare Made Easy) by William Shakespeare (2009-09-01)

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As You Like It (Shakespeare Made Easy) by William Shakespeare (2009-09-01)

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    Available in PDF - DJVU Format | As You Like It (Shakespeare Made Easy) by William Shakespeare (2009-09-01).pdf | Language: UNKNOWN
    William Shakespeare(Author)

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Will be shipped from US. Used books may not include companion materials, may have some shelf wear, may contain highlighting/notes, may not include CDs or access codes. 100% money back guarantee.

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  • William Shakespeare(Author)
  • Barron's Educational Series (1814)
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Review Text

  • By James M. O'Connell on October 18, 2007

    What kind of idiot writes this tripe? This is allegedly a "Play" by some long-dead "Master".Well, let me tell, you: it's boring and derivative. It's about this Prince who doesn't get his father's throne, and feels all depressed about it for a while, and fights back against his uncle (who took the throne and married the prince's mother), to show everyone that it was actually the uncle who killed his father the king.Excuse me? Haven't we heard this before?Yep: Disney's "The Lion King".This is "The Lion King" dressed up in period clothes. Instead of "Simba", we've got "Hamlet". Instead of "Scar", we've got "Claudius". Instead of "Nala", we've got "Ophelia".And it's in "Denmark", instead of the African Plains. Denmark? Is that even a real country anymore? Anyways, it's called Europe, now; That's a part of London.And don't get me started on the language this writer used! It's all like it's from the Bible and stuff. Get rid of that, and use real words: Take a lesson from someone like Stephen King.Don't waste your time with this; watch "The Lion King", and you'll get it. And while you're at it, there's a bridge in Brooklyn I'm selling.

  • By Guest on December 10, 2012

    Shakespeare was a real cool person for his time. Unfortunately, his plays are not a real cool thing to read for my time. It is English and I speak English. I just don't happen to speak Old English. Which is really ironic because I am old and speaking English. If you read slowly and put your thinking cap on, you will get the gist of what the story is about. Or! You can just purchase Cliff notes, etc. This story is exciting and full of action...........I Think?

  • By Jane E on May 27, 2004

    Before I begin, I would like to point out three things. One, I am only a middle-school student (this was an honours class project); two, this is my first review; three, I am reviewing the unabridged, original dialogue version. Thank you.William Shakespeare is hailed as the greatest writer ever, yet (based on people I've met) very few people have read even a single one of his works. I expected it to be required reading in high school or, at the very least, college. Alas, it is not. This is a disappointment, as I truly enjoyed reading this play, my first encounter with Shakespeare.Julius Caesar is a tale of honor and betrayal. Pompey, a beloved Roman leader, is defeated in civil war with Caesar. A small brotherhood, let by Marcus Brutus, is still devoted to him after his death, and wants nothing less than the assassination of their new leader. I had expected Caesar's death ("Et tu, Bruté? Then fall Caesar.") to be near the end of the book. However, it turned out to be within the third of five acts. The rest of the book is devoted to the attempts by Brutus's followers and Marc Antony (a dear friend of Caesar, and Brutus's enemy) to get the populace to believe in and follow that person's views, and turn them against the other people's ideals. Marc Antony, an orator with the ability to, in essence, brainwash an entire city with a short speech ("Friends, Romans, Countrymen, / Lend me your ears!"), convinces Rome to turn on Brutus's brotherhood. How their conflict is settled is, by far, the most captivating and entrancing parts of the play.With the plot discussed, I will move on to what makes this a challenging read: dialogue. Being a work from the Elizabethan Era, I (naively) expected words such as "forsooth" and manye more wordse endinge ine "e". As it turned out, this was not the case. There were archaic words that would elicit cocked heads of confusion from the average person. My saviour from the confusion turned out to be the footnotes in one of the versions I read. The phrase "They fall their crests, and like deceitful jades / Sink in the trial" becomes "They let their necks droop and, like weary nags, fail the test" (Brutus, A4 S2, L26/27). One is forced to scrutinise every single word, in order to receive a complete understanding of the goings-on.The unabridged version of Julius Caesar is definitely not a piece one reads in one's free time; rather, it should be considered a serious task. Once you put the book down, you transform from reader to philosopher. You will instinctively begin to ponder the issues in whatever part of the book that you have just completed. I, personally, read one act at a time, then closed my eyes (or reread the act) to mull over what had just transpired. I was left with a better understanding of that portion, and a greater respect for the genius of Shakespeare.Though this and the following sentences have nothing to do with the above review, I am obliged to put them in. My crusade in life is to get as many people as possible to read Congo, by Michael Crichton, and this is as good as any other place to post my propaganda. Please take the time to at least try the book.

  • By R. M. Peterson on September 18, 2015

    That's how Mote, the diminutive comic genius of the play, sums up the bantering wordplay of three secondary characters -- a school headmaster, a curate, and a Spanish dandy. "Mote" is how everyone pronounces the lad's nickname "Moth" (so mispronounced to underscore his size). The clown of the play, Costard, answers Mote thus: "O, they have lived long on the alms-basket of words. I marvel thy master hath not eaten thee for a word, for thou art not so long by the head as 'honorificabilitudinitatibus'. Thou art easier swallowed than a flapdragon." (A "flapdragon", by the way, is a raisin floating in brandy, while Samuel Johnson later cited the 27-letter word as the longest word known.)That is a very small example of the verbal jousting and hijinks of LOVE'S LABOUR'S LOST. I understood some of it, though I undoubtedly missed much. The collection of Shakespeare's plays that I am using for my traversal of his work does not contain annotations. That generally serves me well, as I don't wish to get bogged down reading explicative footnotes. Nonetheless, I am tempted to get an annotated volume of LOVE'S LABOUR'S LOST and re-read the play along with an explanatory gloss in order that I might better appreciate, and revel in, the extravagant wordplay.But Shakespeare being Shakespeare, LOVE'S LABOUR'S LOST is more than a virtuosic display and celebration of the English language. To be sure, the "plot" is thin. The King of Navarre and three of his lords pledge themselves to three years of ascetic scholarship, including, most significantly, no consorting with women. But no sooner is the ink dry on their signatures than the Princess of France and three of her ladies-in-waiting show up. Each of the men falls for one of the women, and they must reconcile their oaths of chastity with their egos and libidos. They also must win their respective heart's desires, something the women coquettishly resist. Meanwhile the clown Costard vies with the Spanish dandy for the favors of a country wench, the school headmaster and the curate pontificate, and Mote congenially mocks everyone.Interwoven through the play are a few themes of substance: book learning versus experience; men versus women; the power of love and the evanescent distinction between love of another and love of one's self; and appearance versus reality.But for me what is most memorable about LOVE'S LABOUR'S LOST are the linguistic pyrotechnics. One of the things Harold Bloom writes about the play is so spot-on (plus much more authoritative than anything I say) that I will quote it: "'Love's Labour's Lost' is a festival of language, an exuberant fireworks display in which Shakespeare seems to seek the limits of his verbal resources, and discovers that there are none. Even John Milton and James Joyce, the greatest masters of sound and sense in the English language after Shakespeare, are far outdone by the linguistic exuberance of 'Love's Labour's Lost'."


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