Of the three texts of King Lear--the Quarto version printed in 1608, the Folio edition of 1623, and the modern composite of these two early texts--it has been assumed that both the Quarto and Folio versions arc distortions of an unblemished original" now lost and that only the modern text accurately approaches Shakespeare's lost original manuscript. Steven Urkowitz argues to the contrary that the Quarto and Folio are simply different stages of Shakespear's writing--an early draft and a final revision--and that they reveal much about his process of composition. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Of the three texts of King Lear--the Quarto version printed in 1608, the Folio edition of 1623, and the modern composite of these two early texts--it has been assumed that both the Quarto and Folio versions arc distortions of an unblemished original" now lost and that only the modern text accurately approaches Shakespeare's lost original manuscript. Steven Urkowitz argues to the contrary that the Quarto and Folio are simply different stages of Shakespear's writing--an early draft and a final revision--and that they reveal much about his process of composition. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The global financial and economic crisis that began in 2008 has blasted livelihoods, inspired protests, and toppled governments. It has also highlighted the profound moral concerns long surrounding globalization. Did materialist excess, doctrinaire embrace of free trade and capital flows, and indifference to economic injustice contribute to the disaster of the last decade? Was it ethical to bail out banks and governments while innocent people suffered? In this blend of economics, moral philosophy, history, and politics, Steven R. Weisman argues that the concepts of liberty, justice, virtue, and loyalty help to explain the passionate disagreements spawned by a globally integrated economy.
Explaining why the English Augustan Age could more accurately be called the "Age of Passion" than the "Age of Reason," this book recovers the interpretive and stylistic aims of Pope and his contemporaries and addresses objections that have lost Pope's Iliad the audience it deserves. Controversial even before the appearance of the first of its six volumes in 1715, the work remains so today, little read in spite of Samuel Johnson's declaration that it is "the noblest version [translation] of poetry the world has ever seen." Steven Shankman shows that Pope's translation embodies a much finer understanding of the sense and spirit of the original than has been generally recognized. Examining relevant documents in the history of literary theory and literary style from antiquity through the eighteenth century, Professor Shankman offers a fresh and full interpretation of Pope's achievement. He also redeems some of Pope's shrewdest observations on key difficulties in the interpretation of Homer. The English Augustan poets could proudly say that, although many of their works were matched or surpassed by ancient Greece and Rome or by more contemporary Italy and France, they alone raised poetic translation to the status of great art. This book illuminates their accomplishment, and it has important implications for problems of literary translation that we face today.
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