Macbeth
Macbeth by William Shakespeare, published by Cambridge University Press on November 27, 2008, is presented in this second edition, which spans 297 pages. This edition is part of the New Cambridge Shakespeare series, known for its contemporary scholarship and focus on performance. It includes line-by-line commentaries and textual notes, providing a comprehensive overview of one of Shakespeare’s most renowned plays.
Readers will find a detailed exploration of Macbeth’s theatrical and political contexts, particularly in relation to the Gunpowder Plot. The introduction by A. R. Braunmuller addresses key questions surrounding the characters and themes, such as the influence of the Witches and the moral implications of Lady Macbeth’s actions. Additionally, this edition features an illustrated account of the play’s performance history, discussing various cinematic adaptations and suggesting new sources, including the potential influence of Thomas Middleton’s writing. This scholarly approach makes it a valuable resource for those interested in drama and literary criticism.
Official synopsis Publisher
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Macbeth provides a thorough reconsideration of one of Shakespeare’s most popular plays. In his introduction, A. R. Braunmuller explores Macbeth’s immediate theatrical and political contexts, particularly the Gunpowder Plot, and addresses such celebrated questions as: do the Witches compel Macbeth to murder; is Lady Macbeth herself in some sense a witch; is Macduff morally culpable? A new and well-illustrated account of the play in performance examines several cinematic versions, such as those by Kurosawa and Roman Polanski, as well as other dramatic adaptations. Several possible new sources are suggested and the presence of Thomas Middleton’s writing in the play is also proposed.
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