2604 books for « w shakespeare »Edit

‎Shakespeare.‎

‎ Reliure simili de l'éditeur, signet, 25X16 cm, 1965, 294 pages, exemplaire sur papier vergé, illustrations en noir et couleurs contre-collées, collection génies et réalités, Hachette. Bon exemplaire.‎

‎Œuvres complètes de Shakespeare, traduites de l’anglais par Letourneur. Nouvelle édition, revue et corrigée par F. Guizot et A.-P. (Pichot), précédée d’une notice biographique et littéraire sur Shakespeare par M. Guizot. ‎

‎ Paris, Ladvocat, 1821. 13 volumes grand in-8, plein maroquin lavallière, double encadrement d’un triple filet doré sur les plats, fleurons dorés en écoinçon, dos à nerfs richement ornés de filets et petits fers en arabesque, double filet doré sur les coupes, dentelle intérieure, tranches dorées. Exceptionnelle reliure signée Cuzin. 229 x 143 mm.‎

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‎Gamlet [Hamlet]. Tragediya [Russian]. - [THE FIRST ""HAMLET"" IN RUSSIAN]‎

‎(Sankt Petersburg, 1748). 8vo. Bound with five other tragedies/dramas in a slightly later (late 18th century) full calf binding with gilt line-borders to boards and richly gilt spine with red and blue title- and tome-labels. Spine with some wear and corners bumped. Upper capital worn. Internally generally nice and clean and on good paper, but ""Hamlet"" - which has clearly been well red and presumably used for a stage set-up - has some light pencil-annotations and pencil-crossovers, occasional brownspotting, a few paper restorations - no loss of text, a tear to one leaf - no loss, and one leaf slighly loosening at the bottom. Hamlet: 68, (2) pp. - separately paginated. 26pp. + 79, (1) pp. + 62 pp. + 68, (2) pp. + 78 pp. + 1 f. blank + 29 pp.‎

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‎Extremely rare first edition of the first Russian translation/adaptation of Shakespeare's Hamlet. The first edition is incredibly scarce and deemed virtually unobtainable. A second appearance, which is also of the utmost scarcity, came out in 1786, in a collection of plays in Russian. The seminal first rendering of ""Hamlet"" in Russian constitutes a milestone in Russian literature and cultural history. It deeply penetrated Russian culture, and in many ways Sumarokov's ""Hamlet"" came to epitomize the Russian spirit. ""The first Russian adaptation of Shakespeare's ""Hamlet"" was made by the founder of the Russian classical theatre Alexander Petrovich Sumarokov (1717-1777). The play was written in 1748 by the 31-year old ambitious statesman and poet.Some researchers suggest that this work was commissioned to legitimise the power of Peter the Great's daughter Elizabeth through cultural discourse. Elizabeth took the Russian throne as a result of a court coup against an infant great grandson of Peter's elder brother. Ivan VI was barely two months old when he became Russian Emperor and ""reigned"" for eleven months. For the rest of his short life he lived in exile and, from the age of 16, in solitary confinement. Elizabeth's actions might be seen as avenging her father by returning power to his successors.Translated from French, Shakespeare in Sumarokov's version was also turned into a classist play, where people represented functions, such as order and chaos, good and evil, wisdom and stupidity. According to this pattern, the state could not be left without a legitimate ruler. Therefore, Sumarokov wrote a happy end with Claudius and Polonius punished by death and Hamlet, Ophelia and Gertrude victorious and content.Although this version was rarely staged, the image of an outcast prince was often referred to. For example, Catherine the Great's son and heir Paul tried on this role - his father was assassinated and overthrown by his mother's lover to get her the throne....In the 20th century the story of Russian Hamlet continued. As the Russian poet of the Silver Age Maksimilian Voloshin put it, ""Hamlet - is a tragedy of conscience, and in this sense it is a prototype of those tragedies that are experienced by the ""Slavonic soul"" when it lives through disintegration of will, senses and consciousness""."" (Katya Rogatchevskaia, for the British Library exhibition ""Shakespeare in Ten Acts"").Sumarokov created the Russian ""Hamlet"" in 1748 and might have acquainted himself with the character of Hamlet through French sources"" However, it is quite probable that his translation was actually done from English, as it is registered that he borrowed a copy of it from the Academic library in the period from 1746 to 1748.It came to play a seminal role in both Russian literature, culture, and politics in the centuries to come. ""Soon after its arrival in a Russia in 1748, ""Hamlet"" and its chief protagonist became inseparable parts of Russian national identity, prompting such remarks as William Morris's: ""Hamlet should have been a Russian, not a Dane"". However, at the outbreak of the Second World War, the play seems to have disappeared for more than a decade from the major stages of Moscow and Leningrad. Thus was born the 'myth' of Stalin and Hamlet. Today virtually every mention of Hamlet in the Stalin era refers to the dictator's hatred for this tragedy and his supposed banning of it from all Soviet stages. Notwithstanding the efforts of theatre directors such as Sergei Radlov with his heroic production of Hamlet in 1938, there is no doubt that Hamlet was problematic in the context of the paradigm of Socialist Realism. And it was certainly not the most suitable play for a war-stricken country. Moreover, from Stalin's own pejorative reference to 'an indecisive Hamlet' in connection with Eisenstein's ill-fated depiction of Ivan the Terrible (Part II), it is evident that for the dictator the character of Hamlet had negative connotations. The chequered history of Hamlet in the Soviet Union from the outbreak of the War to the death of Stalin in 1953 and the flood of new productions almost immediately after this date, together with the myth of Stalin's 'ban', deserve more nuanced and broadly contextualised study than they have received to date, based on concrete historical facts, memoirs and official documents. (Michelle Assay :What Did Hamlet (Not) Do to Offend Stalin?).""Reforms initiated by Tsar Peter the Great (1672-1725) had far reaching effects on all spheres of life in eighteenth-century Russia, including the cultural sphere. Profound changes also occurred in Russian literature. As Russian literature was becoming increasingly secular and new literary genres evolved there began an intensive search for aesthetic principles and an ideological platform that would be suitable for the demands of the post-Peter the Great epoch. Alexander Sumarokov (1717-1777) was among those Russian writers who considered adopting ethical principles and aesthetic norms of French classicism the most appropriate path for the development of an emergent secular Russian literature. In his rendering of Shakespeare's Hamlet into the Russian language, Sumarokov subscribed to the rules and traditions of French classicist dramaturgy. He adopted the modus operandi and approaches to translation prevalent during the period of classicism in French literature. By doing so, Sumarokov followed a very clear objective. Tailoring his Hamlet according to the patterns of French classicism and bringing in a strong didactic element into his version of Shakespeare's masterpiece, Sumarokov was able to re-evaluate the original material and focus on the issues that he considered most important for his contemporaries in eighteenth-century Russia… Church authority that had dominated public life for centuries was greatly diminished and undermined in both political and cultural spheres. In the 18th century, Russia was a rapidly changing country. A long period of self isolation ended as Russia was opening up and turning its face towards Europe. Profound changes within society also affected the development of 18th-century Russian literature."" (Nikitina, Larisa. (2008). The First Translation of Shakespeare into Russian: A Metamorphosis of Hamlet on Russian Soil. Philologie im Netz. 43. 17-27).""Alexander Sumarokov was the first Russian professional author who chose national subjects for his plays. He introduced Shakespeare to the Russian people with his adaptation of Hamlet, and it was as a spectator at his play Khorev that Elizabeth fell in love with Nikita Beketov who played the leading role."" (Encycl. B.).Apart from Sumarokov's seminal version of ""Hamlet"", the present volume contains the following five works, all by Sumarokov, and all in first editions:Pustynnik [The Hermit]. Drama. 1769Yaropolk i Dimizia. Tragediya, 1768Vysheslav. Tragediya. (1768)Artistona. Tragediya. (1751) Dve Epistoly [Two Letters]Like Hamlet, Sumarokov's other works are very rare in all early printings, especially the first.OCLC lists two copies of this first printing of ""Hamlet"" in Russian in libraries worldwide: One in Germany, one in the UK.‎

‎Stockdale's Edition of Shakespeare: Including, in One Volume, The Whole of His Dramatic Works; with Explanatory Notes compiled from Various Commentators, embellished with a striking likeness of the author.‎

‎William SHAKESPEARE. Stockdale's Edition of Shakespeare: Including, in One Volume, The Whole of His Dramatic Works; with Explanatory Notes compiled from Various Commentators, embellished with a striking likeness of the author. FIRST SINGLE-VOLUME OCTAVO EDITION OF SHAKESPEARE'S PLAYS. PREMIÈRE ÉDITION DES OEUVRES COMPLÈTES EN 1 VOLUME IN-8. 1784, John Stockdale, London. 1 vol. grand in-8 relié de [18], 1079 pages. Manque le frontispice gravé. Reliure de l'époque plein vélin. Dos lisse orné de caissons, frises, fleurons, filets et titre, frappés à l'or fin, et d'une pièce de titre en basane rouge. Intérieur frais avec quelques très rares rousseurs claires, reliure robuste avec le haut du mors supérieur fendu sur quelques centimètres, vélin patiné, ce qui lui donne beaucoup de charme. Bel et rare exemplaire de cette édition très recherchée, surtout en reliure d'époque. Moyen‎

‎Venedik Taciri [Turkish, i.e. ""The merchant of Venice""] - [THE FIRST WORK BY SHAKESPEARE, TRANSLATED DIRECTLY FROM ENGLISH, TO BE PUBLISHED IN TURKEY]‎

‎Istanbul, Matbaa-i Ebuzziya, 1301 [1884]. 8vo (180 x 120 mm). Uncut, unopened. Unbound without wrappers as issued. Turkish in Arabic script. 11 loose stapled gatherings, as issued. Extremities with soiling and first leaf missing lower 5 mm, far from affecting text. Last leaf detached. Internally clean. A good copy of a very fragile publication. 176 pp. ‎

‎Extremely rare first Turkish translation Shakespeare's The Merchant of Venice - The first work by Shakespeare, translated directly from English, to be published in Turkey, one of the very first translations of any English literature into Turkish. As Ottoman power was waning, some sultans developed a passion for Shakespeare. Sultan Abdülhamid II, who ruled about 34 years and earned fame as a despot, was a theatre buff with an intense interest in Shakespeare's tragedies and comedies. It was rumored in the late 19th century that when The Merchant of Venice was presented at the special exclusive palace theatre in ?stanbul, and Shylock began to sharpen his knife to take his revenge, the Sultan became apprehensive, actually so scared that he ran out screaming and caused the play to come to an abrupt end. The Sultan later reportedly said: ""Abandon such frightening scenes"" instead, present performances that will make us laugh"". ""The young translator, while adhering to the original, added the translator's notes to explain to the Turkish reader certain cultural features of the text [8, p. 43]. The translator himself remarked that, despite having a good command of the English language due to the specifics of Shakespeare's style, he sometimes needed to refer to French translations of the work to clarify certain points. Some translation tricks that Hasan Sirri resorted to at the time were interesting and justified. In most Shakespearean replicas with the word Jew he replaced the name of the hero - Shylock, probably in order to bypass possible conflicting moments [8, p. 45]. After all, Hasan Sirri himself occupied the position of a civil servant at the time of the translation and, given the national diversity of the Ottoman state at that time, his decision to ""avoid sharp corners"" was correct. Reading the translation of Hasan Sirri, it is also interesting to observe its accuracy in relation to the Turkish cultural heritage"" (Prushkovska1, TURKISH TRANSLATIONS OF SHAKESPEARE'S WORKS) Kitabhane-i Ebüzziya was a series published by the Turkish publisher Ebüzziya Mehmet Tevfik Bey in order to present classical and contemporary literature to a wider Turkish speaking audience.‎

‎Hamlet. Kraljević Danski. - [EARLY CROATIAN TRANSLATION OF HAMLET]‎

‎Zagreb, Izdala ""Matica Hrvatska"", 1926. 8vo. Uncut, unopened in the original printed wrappers. Light wear to extremities, otherwise a very fine and clean copy. 208 pp.‎

‎Rare early Croatian translation of Hamlet. Shakespeare's plays in the second half of the 18th century were performed in Croatia when some German theatre companies came to Zagreb and performed several German adaptations including Hamlet. Croatia was first introduced to Shakespeare via German and had, consequently, very little impact on Croatian literature. However, it meant many translations of Shakespeare’s works were published comparative late in Croatia. The translator and the author of a long introduction on Shakespeare was Vinko Kriškovic (1861 - 1952). Born in an affluent Dalmatian family Kriškovic spent many years abroad, studying languages and various cultures. He was known as an intellectual and a translator of Shakespeare’s work. He was a member of the Royal Shakespearean Society and translated 24 of Shakespeare’s works. During the Second world war Kriškovic served as an advisor to the leader of the Nazi sympathising Croatian leader Ante Pavelic. In 1944 he moved to Switzerland on the diplomatic passport, where he remained until the rest of his life.‎

‎Hamlet. - [FIRST OTTOMAN-TURKISH TRANSLATION OF HAMLET]‎

‎Cairo, Kütübhane-i Içtihad, 1908. 8vo. In recent full calf with four raised bands. With blind-stamped ornamentation to boards in old Ottoman style. Very light occassional brownspotting, last few leaves a bit frayed, but no loss of text. Otherwise a fine copy. 243 pp‎

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‎The very rare first complete Ottoman-Turkish translation of Shakespeare’s Hamlet. ""Although Hamlet was performed in Greek in 1842 and in Armenian in 1866 (Silahtaroglu 1989: 7), according to Savas Arslan, ""the first complete translation of Hamlet was made from the French by Abdullah Cevdet and published in Cairo"" (Arslan 2008: 159). Between 1908 and 1910, Abdullah Cevdet produced a large oeuvre of translations, including four translations of Shakespeare's tragedies: Hamlet, Macbeth, Julius Caesar, and Romeo and Juliet to Ottoman Turkish. ""A Certain Abdullah Cevdet, a doctor of medicine, a polemist, a printer, was also known as a Shakespeare idolator as he always found a way of mentioning Shakespeare in all his talks and in all his writings. Abdullah Cevdet translated and published in his own printing house first in Cairo and then in Istanbul five of Shakespeare's play, beginning with Hamlet in 1908 and ending the series with Anthony and Cleopatra in 1921"" (Turhan, Vahit. Shakespeare in Turkish). Although Hamlet was published the same year as The Second Constitutional Era Abdülhamid II seemed to be even less tolerant of the dissemination of Hamlet, Macbeth, and Julius Caesar, all being about unjust rulers who were executed. The performances of these plays were subject to strict censorship in Ottoman dominated countries and they were banned from most of them. (Paker 1986: 91), which is most likely the reason for why Abdullah Cevdet was able to publish the translations of these plays only after 1908, though he had finished translating Hamlet in 1902. ""It is necessary to note here that the initial literary import of Hamlet into the Ottoman literary system has been framed within the broader narrative of Hamidian absolutism. For instance, Ýnci Enginün points out that various attempts to perform Hamlet were turned down by Abdülhamid II in his bid to root out any attempt which would debilitate the absolute monarchy. Along similar lines, Sevda Ayluçtarhan highlights that Abdullah Cevdet’s 1908 translation of Hamlet was a ""critical text"" produced by a prominent culture-planner of the time in opposition to Abdülhamid II’s absolutist regime. Ayluçtarhan further points out that Cevdet’s Hamlet was motivated by his perception of the “parallels between Hamlet’s step-father and Abdulhamid II, who had been brought to the throne (1876) on the condition that he would promulgate the Constitution (Kanun-i Esasi) but did not really keep his promise.Cevdet’s translation was introduced to the Turkish audience at a time when the discourse of westernization was prevalent. The translation coincided with the announcement of a Constitutional Revolution that led to the dethronement of Abdülhamit II and ultimately to the promotion of western-inspired reforms. Since Cevdet was one of the ardent supporters of an Ottoman Renaissance through westernization, his translation has been framed as a symbol of the western canon within the Turkish context. For instance, Demirkol regards Cevdet’s translation as an object of culture-planning which was sought to promote westernization. In the same vein, Paker suggests that Cevdet’s Hamlet plays a ""stimulating if not revolutionary role in the intellectual re-awakening of the Ottoman political and cultural milieu""."" (Durmus, Discourses on Hamlet’s Journey in Turkey).‎

‎SHAKESPEARE : SUPREME MASTERPIECE AND PROOF DEFINITIVE - SUPRÊME CHEF-D'OEUVRE ET PREUVE DÉFINITIVE.‎

‎Versailles. Chez l'auteur. 1964. 2 cahiers de 10 pages (un avec le texte en anglais ; l'autre avec le texte en français) et 8 pages de figures et diagrammes. Chemise imprimée. E.O. Peu fréquent. Bon état.‎

‎Professeur d'anglais (Agrégé de l'Université) au Lycée Hoche de Versailles, Pierre Henrion se voua avec beaucoup d'effort et d'obstination à prouver que Shakespeare n'était qu'un prête-nom de Francis Bacon." Ses lettres, volumineuses, contenaient les publications à compte d'auteur qu'il multipliait pour prouver que Shakespeare était un prête-nom de Bacon. Les miennes, minces, étaient d'un adolescent étonné qui relançait l'interlocuteur pour en savoir davantage. Il avait entrepris le décryptage de Shakespeare, et en particulier des Sonnets. Persuadé que les typographes de l'époque n'avaient rien laissé au hasard, il traçait des diagonales sur les éditions originales du Barde et trouvait, alignées, les lettres des noms Bacon et Francis, et divers messages subliminaux destinés à dévoiler aux explorateurs à venir la supercherie sur l'auteur. Il repérait toujours des alignements. Le contraire aurait été surprenant. Quand il en trouvait trop peu pour que la preuve soit écrasante, je crois me rappeler qu'il tordait un peu ses lignes pour qu'elles passent sur les lettres dont il avait besoin. Mais qui lui en aurait tenu rigueur ? Tout le monde sait que l'espace est courbe. C'était clair dans son esprit : Shakespeare n'avait été qu'un histrion de dernier ordre, ou un technicien inculte, un transporteur de tréteaux. Son nom, Shakes-pear ou Shake-spear, ne pouvait désigner qu'un secoueur de poires ou de javelots. Et ainsi de suite, pour tout ce qui touchait le Barde. Les portraits : des faux, composés à la manière débile d'Arcimboldo. La signature : un faux, puisqu'il était évidemment illettré. Je ne comprenais pas pourquoi il tenait tant à prouver que Bacon était Shakespeare, mais ses décryptages géométriques trouvaient en moi le terrain le plus favorable. Plutôt que le but de l'aventure, c'était le moyen qui me passionnait. Cependant, Henrion m'envoyait brochure sur brochure, calculs sur calculs, de plus en plus tirés par les cheveux, accompagnés de lettres guerrières qui disaient la victoire imminente. Les objections ne l'atteignaient plus. Monomane, sourd comme un pot, il avait quelque chose du Courtial de " Mort à crédit ". [] Si je le rencontrais aujourd'hui, je lui expliquerais qu'il m'a porté à penser, de bonne heure, qu'avec un peu d'habileté et de temps à perdre, on peut faire dire n'importe quoi à n'importe quoi. (Jean-Pierre Issenhuth, article dans la revue " Liberté ", volume 36, numéro 4, août 1994, pp. 150-152).Le Professeur Henrion s'est aussi occupé du cas de Jonathan Swift.‎

‎Oeuvres de Shakespeare illustrées (3 Tomes - Complet) [ Oeuvres complètes de Shakespeare traduites par Emile Montegut et richement illustrées de gravures sur bois (3 Tomes - Complet) Tome I : Les Comédies : La Tempête - Les Deux Gentilhommes de Vérone - La Comédie des Méprises - Le Songe d'une Nuit d'été - Le Marchand de Venise - Beaucoup de bruit pour rien - Mesure pour mesure - La Mégère domptée - Peines d'Amour perdues - Comme il vous plaira - Tout est bien qui finit bien - Le Conte d'hiver - La Nuit des Rois - Les Joyeuses Commères de Windsor ; Tome II : Les Tragédies. Le Roi Jean - Le Roi Richard II - Le Roi Henri IV - Le Roi Henri V - Le Roi Henri VI - Le Roi Richard III - Le Roi Henri VIII ; Tome III : Les Grands Drames. Troïlus et Cressida - Timon d'Athènes - Coriolan - Jules César - Antoine et Cléopâtre - Roméo et Juliette - Othello ou le Maure de Venise - Macbeth - Hamlet - le Roi Lear - Cymbeline - Périclès ]‎

‎3 vol. in-4 reliure demi-basane noire, Imprimerie de Ch. Lahure, Paris, s.d. [ circa 1867-1870 ], 700 pp. et 1 f. ; 574 pp. et 1 f. ; 727 pp. et 2 ff. : Oeuvres de Shakespeare illustrées (3 Tomes - Complet) [ Oeuvres complètes de Shakespeare traduites par Emile Montegut et richement illustrées de gravures sur bois (3 Tomes - Complet) Tome I : Les Comédies : La Tempête - Les Deux Gentilhommes de Vérone - La Comédie des Méprises - Le Songe d'une Nuit d'été - Le Marchand de Venise - Beaucoup de bruit pour rien - Mesure pour mesure - La Mégère domptée - Peines d'Amour perdues - Comme il vous plaira - Tout est bien qui finit bien - Le Conte d'hiver - La Nuit des Rois - Les Joyeuses Commères de Windsor ; Tome II : Les Tragédies. Le Roi Jean - Le Roi Richard II - Le Roi Henri IV - Le Roi Henri V - Le Roi Henri VI - Le Roi Richard III - Le Roi Henri VIII ; Tome III : Les Grands Drames. Troïlus et Cressida - Timon d'Athènes - Coriolan - Jules César - Antoine et Cléopâtre - Roméo et Juliette - Othello ou le Maure de Venise - Macbeth - Hamlet - le Roi Lear - Cymbeline - Périclès ]‎

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‎Bon et rare exemplaire bien complet de cette édition peu commune des oeuvres illustrées de William Shakespeare (mouill. souvent très discrète en tête du tome 1, belle fraîcheur intérieure par ailleurs), qui n'est autre que l'édition Hachette de 1867, mais sans les pages de titre de l'édition Hachette, ainsi qu'il arrive parfois. Vicaire, VII, 496 Rare exemplaire de l'édition en 3 volumes in-4 (à ne pas confondre avec l'édition en 10 vol. in-12) richement illustrée de très beaux hors texte et in texte. Eugène-Melchior de Vogüé évoquait ainsi le traducteur Emile Montégut : "Il trouvait le loisir de nous donner la meilleure traduction de Shakespeare, la seule qui ait fait passer dans notre langue quelque chose des grondements et des frissons de cet océan. Il prêtait encore plus qu'il ne donnait. Sait-on que Baudelaire s'est formé dans un commerce intime avec Montégut, et que le poète devait, pour une bonne part, la substance de sa pensée à cet excitateur d'idées ?" Vicaire, VII, 496‎

‎Romeo Et Juliette (Librio)‎

‎Editions 84 1995 98 pages 12 7x0 762x20 32cm. 1995. pocket_book. 98 pages.‎

‎Bon état‎

‎Romeo Et Juliette (Librio)‎

‎Editions 84 1995 98 pages 12 7x0 762x20 32cm. 1995. pocket_book. 98 pages.‎

‎Bon état‎

‎Shakespeare W. Shakespeare in translation. In Russian (ask us if in doubt)/Shek‎

‎"Shakespeare W. Shakespeare in translation. In Russian (ask us if in doubt)/Shekspir V. Shekspir v perevode. Short description: In Russian (ask us if in doubt).and A. L. Sokolovsky's explanation: Complete collection of works in 8 volumes: Historical and critical sketches and explanatory notes about them are attached to the translation of these works. St. Petersburg edition of A.F. Marx. Typography of the Main Department of Works. T.1: Introductory article: Shakespeare and its meaning in literature. Tragedy: Othello. King Lear. Macbeth. 1894. 4 472 c.; T.2: Tragedy: Hamlet. Romeo and Juliet. Timon of Athens. 1894. 4 371 c. 1894-1898. Initials: A.R. Marble cuts. 23.0x15.0 see. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb10b8848861a606a1"‎

‎Shakespeare. A collection in 5 volumes Volume 1. In Russian (ask us if in doubt)‎

‎Shakespeare. A collection in 5 volumes Volume 1. In Russian (ask us if in doubt)/Shekspir. Sobranie v 5-ti tomakh Tom 1.. The collection of works by Shakespeare edited by S. A. Vengerov. Edited by S. A. Vengerov. St. Petersburg Edition 1902. This collection of works by Shakespeare edited by S. A. Vengerov with drawings in the text and numerous paintings on separate sheets was published in 1902-1904 by Brockhaus and Ephron. This collection of works by Shakespeare is the fifth. SKUalb89fc01890d4a1179.‎

‎Le songe d'une nuit d'été par William Shakespeare. Illustré par Arthur Rackham. ‎

‎Paris, Hachette et Cie, 1909 (imprimé par Ballantine and Co, Londres pour le texte. Les illustrations en couleurs ont été reproduites par MM. Carl Hentschel) 1 volume grand in-4 (30 x 23,5 cm) de (6)-134-(2) avec 40 planches en couleurs montées sur papier marron épais et protégées par un calque avec légende imprimée et 30 dessins au trait imprimés en noir dans le texte. Cartonnage éditeur plein vélin blanc, premier plat décoré doré du titre et de l'auteur et illustré d'une illustration d'Arthur Rackham dorée au centre, dos avec titre doré, tête dorée, doublures et gardes de papier brun fort (identique au papier qui sert de support aux illustrations hors-texte). Collationné complet. Reliure très fraîche. Le lacet du plat supérieur a été arraché (le morceau déchiré est bien présent dans le volume). Intérieur parfait.‎

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‎Première édition en français. Tirage total à 330 exemplaires seulement. Celui-ci, un des 30 exemplaires de tête sur Japon, signés par l'artiste. La première édition anglaise a parue en 1908 chez William Heinemann à Londres (1.000 exemplaires). Limited to thirty numbered copies on Papier Imperial du Japon signed by Arthur Rackham, this being copy no. 22, of a total edition of 330. First edition in French of Shakespeare's A Midsummer Night's Dream illustrated by Arthur Rackham. Publisher's full vellum, gilt decorated. Top edge gilt, others untrimmed. Orignal silk laces present (one is broken). A fine copy.? The black & white illustrations have far more definition here printed on 'Papier Imperial du Japon' than those in the English Limited Edition. "The most splendid illustrated work of the century, so far" (William de Morgan). "The illustrations for a Midsummer-Night's Dream... were much less controversial in theme than Alice, and their success was ungrudged... Rackham cast his spell over the play; his drawings superceded the work of all his predecessors from Gilbert to Abbey, and for fifty years have enriched the imagination; his conception of Puck and Bottom, Titiana and Oberon, Helena and Hermia, his gnarled trees and droves of fairies, have represented the visual reality of the Dream for thousands of readers. Here he excelled especially in landscape, and in reconciling dream and reality, giving himself to the luxury of rich detail with a rare generosity" (Hudson). "By March 1909, three months after publication, the entire de luxe edition...had been sold out, and of the 15,000 trade copies, 7,650 had been sold. The English edition remained in print and paid [Rackham] royalties until the end of his life" (Hamilton). Le Songe d'une nuit d'été (A Midsummer Night's Dream, qu'on peut aussi traduire par Songe d'une nuit de la Saint-Jean, ou Songe d'une nuit du solstice d'été) est une comédie de William Shakespeare écrite entre 1594 et 1595. La première inscription de la pièce au registre des Libraires date du 8 octobre 1600. C'est une histoire complexe dont l'action se déroule à Athènes en Grèce et réunit pour mieux les désunir deux couples de jeunes amants : Lysandre et Hermia d'une part, Démétrius et Héléna d'autre part. Hermia veut épouser Lysandre mais son père, Égée, la destine à Démétrius, dont est amoureuse Héléna. Lysandre et Hermia s'enfuient dans la forêt, poursuivis par Démétrius, lui-même poursuivi par Héléna. Pendant ce temps, Obéron, le roi des fées, a ordonné à Puck de verser une potion sur les paupières de sa femme, Titania pour se moquer d'elle. Pendant la nuit, une grande confusion règne parmi tous les personnages. La scène la plus connue est l'apparition de Bottom, qui porte une tête d'âne, avec Titania, qui, par la magie de Puck, en est tombée amoureuse. Arthur Rackham (1867-1939) est l'un des illustrateurs parmi les plus marquants de la période 1900-1920. Il est mondialement reconnu pour ses illustrations pour les livres d'enfants (Peter Pan, Alice au pays des merveilles, Contes de Grimm, etc.) mais également pour ses illustrations féériques et fantastiques pour des textes de la littérature classique pour adultes tels que L'Anneau du Nibelung (l'Or du Rhin et La Valkirie de Richard Wagner ou encore le Songe d'une nuit d'été de William Shakespeare ou Ondine). Superbe exemplaire du rarissime tirage de luxe sur Japon dans sa reliure éditeur en vélin doré. L'une des plus belles illustrations dues au talent d'Arthur Rackham sur un texte féérique de William Shakespeare. ‎

‎Makbath (i.e. ""Macbeth""). - [FIRST TURKISH TRANSLATION OF MACBETH]‎

‎Egypt (Cairo, but possibly Istanbul), Kütübhane-i Içtihad, 1909. 8vo. In later marbled wrappers. Light browning to title-page and a few occassional brownspots throughout, otherwise a good copy. In Ottoman script (Old Turkish with Arabic letters). 159 pp. ‎

‎Rare first Turkish translation of Macbeth, printed in Ottoman Cairo. Between 1908 and 1910, Abdullah Cevdet produced a large oeuvre of translations, including four translations of Shakespeare's tragedies: Macbeth, Hamlet, Julius Caesar, and Romeo and Juliet to Ottoman Turkish. ""A Certain Abdullah Cevdet, a doctor of medicine, a polemist, a printer, was also known as a Shakespeare idolator as he always found a way of mentioning Shakespeare in all his talks and in all his writings. Abdullah Cevdet translated and published in his own printing house first in Cairo and then in Istanbul five of Shakespeare's play, beginning with Hamlet in 1908 and ending the series with Anthony and Cleopatra in 1921"" (Turhan, Vahit. Shakespeare in Turkish). Although Macbeth was published the year after The Second Constitutional Era Abdülhamid II seemed to be even less tolerant of the dissemination of Macbeth, Hamlet, and Julius Caesar, all being about unjust rulers who were executed. The performances of these plays were subject to strict censorship in Ottoman dominated countries and they were banned from most of them. (Paker 1986: 91), which is most likely the reason for why Abdullah Cevdet was able to publish the translations of these plays only after 1908, though he presumably had finished translating possibly as early as 1902. Cevdet’s translation was introduced to the Turkish audience at a time when the discourse of westernization was prevalent. The translation coincided with the announcement of a Constitutional Revolution that led to the dethronement of Abdülhamit II and ultimately to the promotion of western-inspired reforms. Since Cevdet was one of the ardent supporters of an Ottoman Renaissance through westernization, his translation has been framed as a symbol of the western canon within the Turkish context. For instance, Demirkol regards Cevdet’s translation as an object of culture-planning which was sought to promote westernization. "" (Durmus, Discourses on Hamlet’s Journey in Turkey).‎

‎The Works of William Shakespeare. Life, Glossary, etc. Reprinted from the original edition and compared with all recent commentators. Memoir of Shakespeare - Shakespeare's Will - The Tempest - Measure for measure - etc‎

‎Frederick Warne and Company. 1868. In-12. Relié. Etat d'usage, Couv. partiel. décollorée, Dos satisfaisant, Papier jauni. 748 pages. Texte en anglais. Rousseurs. Nombreuses annotations au crayon et à l'encre dans le texte, sur la page de garde et la page titre. Texte sur deux colonnes. Un signet. Titre et auteur dorés au dos.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎"Sommaire : Memoir of Shakespeare - Shakespeare's Will - The Tempest - Measure for measure - etc. Collection ""Chandos Classics"". Classification Dewey : 420-Langue anglaise. Anglo-saxon"‎

‎OEUVRES DRAMATIQUES- TOME 1- DE WILLIAM SHAKESPEARE- VENDU SEUL- Préface - Vie de Shakespeare - Son Testament - Baptemes, mariages et enterrements des membres de la famille de Shakespeare - Hamlet - Roméo et Juliette - Le Roi Jean - La vie et la mort...‎

‎FLAMMARION. 1912. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 385 pages. . . . Classification Dewey : 820-Littératures anglaise et anglo-saxonne‎

‎LES MEILLEURS AUTEURS CLASSIQUES- TRADUIT PAR G DUVAL- TOME 1: Préface - Vie de Shakespeare - Son Testament - Baptemes, mariages et enterrements des membres de la famille de Shakespeare - Hamlet - Roméo et Juliette - Le Roi Jean - La vie et la mort du Roi Richard II Classification Dewey : 820-Littératures anglaise et anglo-saxonne‎

‎Oeuvres de Shakespeare - Lot de 2 volumes : Tome I, Les drames + Tome II, Feeries et comedies - Illustrées d'un portrait de Shakespeare et de 9 gravures hors texte de Westal, Hamilton, Smirke, ect... - traduction de Letourneur nouvellement revue‎

‎"COLLECTION DES GRANDS CLASSIQUES FRANCAIS ET ETRANGERS. NON DATE. In-12. Relié. Etat d'usage, Couv. légèrement passée, Mors fendus, Quelques rousseurs. 446 + 444 PAGES - un frontispice en noir/blanc - Sur les 2 volumes : etiquette / piece de titre au dos ""Theatre choisi"" + fleuron et filets - Tranches de tête rouge - petite tâche sur le 1er plat du tome 1. . . . Classification Dewey : 820-Littératures anglaise et anglo-saxonne"‎

‎Oeuvres de Shakespeare illustrées d'un portrait de Shakespeare et de 9 gravures hors texte de Westal, Hamilton, Smirke, ect... d'apres l'edition anglaise (London, 1791-1802) - Lot de 2 volumes : Tome I, Les drames + Tome II, Feeries et comedies - traduction de Letourneur nouvellement revue Classification Dewey : 820-Littératures anglaise et anglo-saxonne‎

‎Shakespeare William. Shakespeare. Library of Great Writers. Complete collection ‎

‎Shakespeare William. Shakespeare. Library of Great Writers. Complete collection of works in 5 volumes In Russian (ask us if in doubt)/Shekspir Uil'yam. Shekspir. Biblioteka Velikikh pisateley. Polnoe sobranie sochineniy v 5 tomakh Short description: In Russian (ask us if in doubt).Series: Library of the Great Writers St. Petersburg Edition Brockhaus-Ephron 1902. 0 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb49df4752f03a22c0‎

‎Shakespeare. Shakespeare for children. In Russian (ask us if in doubt)/Shekspir.‎

‎Shakespeare. Shakespeare for children. In Russian (ask us if in doubt)/Shekspir. Shekspir dlya detey. Short description: In Russian (ask us if in doubt).Wolf Gold Library 1915 380 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb7389b27d6a4bf3f9‎

‎Shakespeare B. A complete collection of sonnets by William Shakespeare translat‎

‎Shakespeare B. A complete collection of sonnets by William Shakespeare translated by Nicholas Gerbel. In Russian (ask us if in doubt)/Shekspir V. Polnoe sobranie sonetov Villiama Shekspira v perevode Nikolaya Gerbelya.. S.Pb.V type. V. Bezobrazova and Comp. 1880. XIV 2 154 p. SKUalb4888a7509b9ba3e1.‎

‎Shakespeare W. William Shakespeare translated by Boris Pasternak. In two volume‎

‎Shakespeare W. William Shakespeare translated by Boris Pasternak. In two volumes. In Russian (ask us if in doubt)/Shekspir V. Vilyam Shekspir v perevode Borisa Pasternaka. V dvukh tomakh.. General revision of the translation by M.M.Morozov. Artist Evgeny Golyakhovsky. M. Art. 1950. 608 520 p. SKUalb5133c417d1ab9436.‎

‎Shakespeare W. William Shakespeare translated by B. Pasternak. In two volumes. ‎

‎Shakespeare W. William Shakespeare translated by B. Pasternak. In two volumes. In Russian (ask us if in doubt)/Shekspir U. Vilyam Shekspir v perevode B. Pasternaka. V 2-kh tomakh.. Engravings by E. Golyakhovsky. Moscow Art 1949. 608 and 520 p. SKUalb53b33a280547e43b.‎

‎A Midsummer Night's Dream (New Penguin Shakespeare)‎

‎Penguin Books Ltd 1981 176 pages 10 922x1 27x18 034cm. 1981. 176 pages.‎

‎Etat correct‎

‎King Lear (New Penguin Shakespeare S.)‎

‎Penguin Books Ltd 1973 352 pages 10 8x2x17 4cm. 1973. Broché. 352 pages.‎

‎Etat correct‎