Helen Vendler, widely regarded as our most accomplished interpreter of poetry, here serves as an incomparable guide to some of the best-loved poems in the English language. </p>
In detailed commentaries on Shakespeare's 154 sonnets, Vendler reveals previously unperceived imaginative and stylistic features of the poems, pointing out not only new levels of import in particular lines, but also the ways in which the four parts of each sonnet work together to enact emotion and create dynamic effect. The commentaries--presented alongside the original and modernized texts--offer fresh perspectives on the individual poems, and, taken together, provide a full picture of Shakespeare's techniques as a working poet. With the help of Vendler's acute eye, we gain an appreciation of "Shakespeare's elated variety of invention, his ironic capacity, his astonishing refinement of technique, and, above all, the reach of his skeptical imaginative intent." </p>
Vendler's understanding of the sonnets informs her readings on an accompanying compact disk, which is bound with the book. This recorded presentation of a selection of the poems, in giving aural form to Shakespeare's words, heightens our awareness of voice in lyric, and adds the dimension of sound to poems too often registered merely as written words. </p>

Although numerous books on Shakespeare are published every year, his language is a neglected topic. Yet an understanding of how his language works is fundamental to appreciating every aspect of his work. In this study of the grammar of Shakespeare's language, a detailed analysis is given. Steering clear of linguistic jargon it includes not only traditional features such as the make up of clauses and differing parts of speech, but also language in use in various forms of discourse.

1898年，舍斯托夫第一部哲学著作《莎士比亚及其批评者勃兰兑斯》发表。在这部著作中，舍斯托夫主要反对泰恩的实证主义和勃兰兑斯的怀疑主义，主张理想主义和高尚道德，提出了贯穿他后来全部哲学创作的中心问题：当个体存在露出可怕的情景时，是俯首听命客观规律还是诉诸圣经信仰？可以看出，舍斯托夫明显对思辨哲学的必然性体系不信任，反而把具体的人生及其悲剧等问题放在首位。舍斯托夫晚年在其纪念胡塞尔的文章中对该书评价很高：“在某些人看来似乎很奇怪，我最初的哲学老师居然是莎士比亚，是他的谜语般的、不可理解，带着威胁性的阴郁的话语：‘这个时代纷乱无序’。当时代纷乱无序时，当存在露出其可怕的情况时，我们怎么办呢？我们能做什么呢？”。
本书是一部充满思想张力的学术名著。它既被认为是二十世纪文论的一部经典，也被解读为作者后来哲学思想的一个秘密来源。舍斯托夫以其惯有的激情，雄辩地论证了他从莎士比亚戏剧人物身上所看到的世界图景。他极为天才地，并且可以说是非常富有洞察力地预见到了他所处时代的动荡与纷乱，并且极力通过他所理解的人类精神世界的奥秘，来为这个动荡的世界寻找一个安顿灵魂的秘方。

From one of our most eminent and accessible literary critics, a groundbreaking account of how the Greek and Roman classics forged Shakespeare (TM)s imagination
Ben Jonson famously accused Shakespeare of having oesmall Latin and less Greek. But he was exaggerating. Shakespeare was steeped in the classics. Shaped by his grammar school education in Roman literature, history, and rhetoric, he moved to London, a city that modeled itself on ancient Rome. He worked in a theatrical profession that had inherited the conventions and forms of classical drama, and he read deeply in Ovid, Virgil, and Seneca. In a book of extraordinary range, acclaimed literary critic and biographer Jonathan Bate, one of the world (TM)s leading authorities on Shakespeare, offers groundbreaking insights into how, perhaps more than any other influence, the classics made Shakespeare the writer he became.
Revealing in new depth the influence of Cicero and Horace on Shakespeare and finding new links between him and classical traditions, ranging from myths and magic to monuments and politics, Bate offers striking new readings of a wide array of the plays and poems. At the heart of the book is an argument that Shakespeare (TM)s supreme valuation of the force of imagination was honed by the classical tradition and designed as a defense of poetry and theater in a hostile world of emergent Puritanism.
Rounded off with a fascinating account of how Shakespeare became our modern classic and has ended up playing much the same role for us as the Greek and Roman classics did for him, How the Classics Made Shakespeare combines stylistic brilliance, accessibility, and scholarship, demonstrating why Jonathan Bate is one of our most eminent and readable literary critics.

独家收录59幅1597年原版全彩插画，珍藏于牛津大学博德利图书馆。
朱丽叶为了逃婚服下颠茄，假装死去，她躺在家族墓地里，既怕听到曼德拉草叫声凄厉，又憧憬着罗密欧前来，却不曾想他命丧于乌头草；奥菲利娅借用芸香和紫罗兰，祭奠被情人哈姆莱特误杀的父亲，她用毛茛、荨麻、雏菊和红门兰编织成花环，最终与它一同殒命于水中……在莎士比亚笔下，“石块的冥顽，草木的无知，都含着玄妙的造化生机。莫看那蠢蠢的恶木莠蔓，对世间都有它特殊贡献”。
本书精选莎翁剧作中49种植物，从文学、历史、园艺、烹饪、医学、民俗、语言等多角度写小传，描绘出一幅生动的莎士比亚式花园图景。

Hamlet's combination of violence and introspection is unusual among Shakespeare's tragedies. It is also full of curious riddles and fascinating paradoxes, making it one of his most widely discussed plays. Professor Hibbard's illuminating and original introduction explains the process by which variant texts were fused in the eighteenth century to create the most commonly used text of today. Drawing on both critical and theatrical history, he shows how this gusion makes Hamlet seem a much more 'problematic' play than it was when it originally appeared in the First Folio of 1623. The Oxford Shakespeare edition presents a radically new text, based on that First Folio, which printed Shakespeare's own revision of an earlier version. The result is a 'theatrical' and highly practical edition for students and actors alike. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range 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, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

　　一文字秀虎征战多年，手段残忍。在七十岁时，秀虎准备将家业一分为三，由三个儿子分掌大权。他把太郎孝虎、次郎正虎、三郎直虎叫到跟前，以“支箭会断，砚支箭折不断”喻语告诫三兄弟，嘱咐他们要休戚与共。三郎当场把三支箭横在膝上折断，以抗议父亲枉经乱世，而不知人情。秀虎大怒，将三郎驱逐出境。三郎遂到邻国入赘为婿。而之后一文字家果然被三郎言中，背信弃义的告诫果然成真，父子及兄弟间的纷乱开始，迎接他们的将是什么命运？

Simon Schama argues that it is impossible to understand how Shakespeare came to belong 'to all time' without understanding just how much he was of his time

本书作者通过对莎士比亚主要的八个历史剧整体系列的综合阐释，通过分析莎士比亚对待这些历史主题所保持的精思熟虑以及他大多数历史剧的精致架构，让人们更加相信莎士比亚是受过教育的，在广阔的智慧和思考的力量上是可以媲美但丁和弥尔顿的诗人；他提升了编年史剧的水平，将编年史剧变成一种独立的真正的戏剧类型，而不只是悲剧的附属品。并且从一开始到最后、在他所有的历史剧中始终对秩序原则有着稳固的意识，并因为这种意识而与同时代那些更具哲学思维的作家们更为接近。
莎士比亚历史剧以史诗的方式表现了他头脑中的中世纪以及他那个时代的生活图景，其中心主题则是被置于庄严而高度道德化语境中的英格兰或国家主题。
在西方文教传统谱系中，不断有学人将莎士比亚与柏拉图并举。莎士比亚戏剧以历史舞台为背景，深涉人世政治问题的底蕴，尤其是王者问题，一再激发后人掂量人性和人世的幽微，为后世探究何谓优良政制、审慎思考政制变革奠定了思想基础——不仅如此，与柏拉图的戏剧作品一样，作为政治哲人的莎士比亚没有学说，他的政治哲学思考无不隐含在笔下的戏剧人物和戏剧谋篇之中。

何为法律以及法律何以合法的问题，构成了《威尼斯商人》等莎士比亚戏剧中或明或暗的情节主线。《夏洛克的困惑：莎士比亚与早期现代英国法律思想研究》将从早期现代英国法律思想的角度出发，探讨莎士比亚剧场与英国法律机制之间的“商榷”和对话关系。通过对《裘力斯·凯撒》、《威尼斯商人》、《一报还一报》、《李尔王》，以及《特罗斯罗斯与克瑞西达》等戏剧作品的法律解读，本书试图勾勒出莎士比亚戏剧所展现的作为 “宇宙自然法”、“契约法”、“宗教律法”，“王权话语”，乃至“社会伦理”等早期现代英国社会的若干“法律”建构模式。研究表明：莎士比亚在参与建构英国法治神话的同时，也对法制社会中的种种弊端不无忧虑；完善合理的法律体系至关重要，而爱邻如己的悲天悯人情怀亦是社会正义的必要条件。
从早期现代英国法律思想的角度解读《裘力斯·凯撒》、《威尼斯商人》、《一报还一报》和《李尔王》等莎士比亚戏剧，深入探究早期现代英国的法律思想与莎士比亚创作之间的关系，并借以反思西方人文和法律语境下的'正义''德政''法治'等基本问题在莎士比亚戏剧中的反映，以及莎士比亚对于以上重大问题的深邃思想，以期为我国莎士比亚研究引介新的理论视角，使学界深入理解早期现代英国法律文化的独特特征，反思西方人文和法律语境下的基本问题。

Hag-Seed is a re-visiting of Shakespeare’s play of magic and illusion, The Tempest, and will be the fourth novel in the Hogarth Shakespeare series.
The Tempest is set on a remote island full of strange noises and creatures. Here, Prospero, the deposed Duke of Milan, plots to restore the fortunes of his daughter Miranda by using magic and illusion -- starting with a storm that will bring Antonio, his treacherous brother, to him. All Prospero, the great sorcerer, needs to do is watch as the action he has set in train unfolds.
In Margaret Atwood’s ‘novel take’ on Shakespeare’s original, theatre director Felix has been unceremoniously ousted from his role as Artistic Director of the Makeshiweg Festival. When he lands a job teaching theatre in a prison, the possibility of revenge presents itself – and his cast find themselves taking part in an interactive and illusion-ridden version of The Tempest that will change their lives forever.
There’s a lot of Shakespearean swearing in this new Tempest adventure…but also a mischief, curiosity and vigour that’s entirely Atwood and is sure to delight her fans.

“霍加斯•莎士比亚”经典改写系列第三部作品，时代周刊盛赞的“新莎士比亚小说”。
加拿大文学女王、布克奖小说家、热播美剧《使女的故事》原著作者玛格丽特·阿特伍德重讲莎翁经典《暴风雨 》。
仇恨如暴风雨，情绪爆发的顶点，原谅才能给人自由。所有的失去都会以另一种方式回归。
【内容简介】
菲利克斯正在筹谋一场足以震撼整个戏剧界的大事——有史以来最华丽、最颠覆、最魔幻的《暴风雨》。他几乎掏空家底，倾尽精力，全身心投入。在爱妻和小女儿相继离世后的独居日子里，这是唯一一件他还有动力去做的事，也唯有这般，寂寞和悲伤才不至于吞没他。
可是，那些改变一生的事情，不都是一瞬间发生的么？在此之前，溃败毫无预兆……
一切就绪，菲利克斯准备开始的时候，托尼——他最信任、最依赖的工作伙伴——告诉他：“很不幸，理事会投票决定，终止与您的合同。”
地位、荣耀和尊严搭建的人生，突然反转，那一刻起，复仇的念头就控制了他……

本书是德国著名的诗人和散文家海涅在19世纪30年代为一本画册所做的解说词，画册中包含英国画家为莎士比亚戏剧中的女性形象所作的45幅铜雕画像。作者不仅高屋建瓴地阐述了莎士比亚的文化意义与深远影响，更借助对丰富而动人的女性角色的逐一品评，贯通莎士比亚研究的多个子题，时时有不遑多让的精彩论断。海涅对莎士比亚的推崇既出于文学审美自觉，又不乏宏大深邃的思想体悟。
海涅，以诗人的精妙语句和文学评论家的慧眼，不仅完成了一篇独特而精彩的解说词，实则也表达了对莎士比亚这位天才文学家的深情致敬。

本书是为纪念英国剧作家莎士比亚逝世400周年，日本学者濑户宏关于中国近代戏剧史的著作《莎士比亚在中国》的中文版。介绍了1840年代以来中国人对莎士比亚及莎剧接受并喜爱的历史，在附章介绍莎士比亚在日本的接受史。
内容包括：梁启超、林纾、田汉等近代翻译家对莎士比亚引进的黎明；民国时期戏剧学校和团体对名剧《罗蜜欧与朱丽叶》等的排练演出；1930年代《威尼斯商人》在中国首次演出盛况；新中国时期以中国传统戏曲编演的莎剧；1990年代林兆华先锋话剧对莎剧的改编；2012年《理查三世》在中国国家话剧院的大型公演，等等。附录有作者亲笔翻译的莎翁经典台词集。全书包含相关珍贵图片150幅左右。日文版由日本松本工房于2016年4月出版。

本书的题目并不特别与一个老说法相关：“我们都是矮子，但是我们站在巨人的肩膀上”。这谦卑的姿态，表达了太多的自我满足。巨人是那么容易让我们爬上去的吗？巨人的功能就是把侏儒扛上他们的肩膀吗?或许他们曾经是亲切和蔼的，但是现在他们却把我们摔在了地下，偷偷走了，只留给我们一个视界更宽一些的幻觉。毫无理由地假设我们和伟大者的亲密关系，很快就会使年轻一代人否认有什么巨人，并断定这整个说法不过是一个谎言，是由教师们编造来抬高自己的。我想，巨人会鄙视这小小的喜剧和玩笑。
解读伟大作品，已经不仅仅是个人或某个学派的为学旨趣，而是与生存选择紧密相关。关键在于，伟大作品给出了关于什么是美好生活、什么是美好德行等紧要问题的深刻思考与解答。即使我们要寻求只属于自己的答案，也无论如何必须首先面对那些伟大的书。
在订正旧版的基础上，新增两篇文章：《理查二世》和《文本的研习》。

国家“九五”重点图书出版规划项目:本书收录了莎剧中的特殊人名、地名，为莎剧中所使用而其释义，用法与今不同的英语单词、词组和习语，莎剧中的外来语，方言土语等。

本书由北京大学教授戴锦华与中国人民大学副教授孙柏两位合作完成。主体部分共有“经典的双刃”、“《哈姆雷特》的意味”、“劳伦斯·奥利弗或《哈姆雷特》的声画之舞”、“冷战氤氲、丹麦王子与悲剧的多重意味”、“柯静采夫，冷战文化的内部与外部”、“低回与寂寥之间”、“剧变时刻、《哈姆雷特》：英雄或幽灵归来？”、“后冷战，庆典时刻与《哈姆雷特》的‘完满’”、“《哈姆雷特》中国行”、“独立电影？影像与暴力之维”、“21世纪的《哈姆雷特》及结语”等十一部分组成，以对谈的形式来梳理《哈姆雷特》电影改编的历史脉络，试图铺展这一经典之作借助不同的银幕演绎而打开的文本褶皱，并在此基础上以揭示和显影这一社会象征行为的历史书写意谓，深入地阐发萦绕着哈姆雷特银幕形象而获得呈现的资本主义社会文化内在的精神分裂，以及莎士比亚戏剧等世界名著及其改编电影的文本内外、台前幕后故事。