Download As You Like It (First Avenue Classics) by William Shakespeare PDF

By William Shakespeare

Rosalind, Orlando, and different individuals of the royal courtroom get away their difficulties by means of working away to the wooded area. A story of tangled love plots, this unabridged model of the pastoral comedy via English playwright William Shakespeare was once first released in 1623; the textual content is within the public domain.

This First road Classics model has positioned the textual content right into a new layout to make this ebook attractive and more uncomplicated to learn in either electronic and paperback codecs. The e-book encompasses a hyperlinked desk of Contents for navigation.

The First street Classics model is unabridged and has been proofed for formatting mistakes. blunders and trade spellings present in the unique publication haven't been replaced.

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Additional resources for As You Like It (First Avenue Classics)

Example text

His lyrical poetry was praised for its simple, pastoral qualities, but his prophetic works were fairly uniformly dismissed as incomprehensibly wild. His great invention of illuminated printing, uniting designs and text on the same etched page, provided a vehicle in which his strange verses could make their way into the world under cover of the beauty of the designs. To most of Blake’s contemporaries, his poetry evidently seemed interesting but absurd; scarcely any could have conceived of him as a great poet.

Roe, in Blake’s Illustrations to the Divine Comedy (1953), surveys and reproduces the great Dante series competently, but rather blurs the issue by reading the designs frequently as illustrations of Blake’s own myth as well as Dante’s. Digby, Symbol and Image in William Blake (1957), attempting to apply modern psychology to Blake’s art. Perhaps the most satisfactory book on Blake’s visual work as a whole is Sir Anthony Blunt’s The Art of William Blake (1959), a series of lectures which yet brings the erudition of a great art-historian to bear upon Blake, placing him firmly in the European iconographic traditions.

Phillips (1973), which contain important essays by Frye (Pinto), Butlin (Rosenfeld), Miner (Rosenfeld), Paley (Curran and Wittreich), and Bindman (Paley and Phillips). Such anthologies have the advantage occasionally of collecting in one place the most recent advances of scholarship or of critical fashion. NOTES 1 Such reputation as Blake had was almost exclusively British; a few German readers may have seen Crabb Robinson’s 1811 article in Vaterländisches Museum (No. 36), but no known comments in North America appeared until after his death.

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