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 ~THE MOST UP-TO-DATE EDITIONS EVER PUBLISHED ~

.44 CALIBRE SHAKESPEARE PRESENTS

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Three unique editions of Shakespeare's classic plays 'Romeo & Juliet', 'Othello: The Moor of Venice' and the forthcoming 'Hamlet: Prince of Denmark' offer what can only be described as the most complete, concise, downright entertaining annotions ever published for these three timeless classics. Targeted at the modern audience, only .44 really goes there, carefully walking the reader through phrase-by-phrase, line-by-line, unusual-word-by-unusual-word, painstakingly taking the time to explain the meanings in a way quite simply never done before. It is not to be confused with other people's 'translations' which just skim over the surface; these editions represent a cross-section of all the infomation attributed to these texts as yet accepted by the academic community (and some exclusive, juicey theories besides!)

SHAKESPEARE'S NEVER BEEN SO CHILLED

These editions speak for themselves, as any line-for-line comparison will do with any other edition of Shakespeare you can find will prove (*with the exception of Horace Howard Furness' of 200 years ago, which is almost as difficult to slog through as The Bard himself is).

These editions are strongly recommended for actors/dramatists attempting to get to grips with the lines, academic studies seeking hot leads and those with a general interest who wish to be entertained and not bored silly.

 

Look at any classroom edition of Shakespeare and you will see a pitiful little area of no more than 8 - 12 words of terminology per page and even then, only a few brief, cryptic words to explain their meaning. How are people to enjoy Shakespeare if they do not understand what is being said?? There is nothing out there which can compare to the simplicity yet detail, clarity yet subtlety we provide.

 

We NEVER miss a tricky unusual word which is more than can be said for most of the so called ' academic standard ' editions.

 

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These editions are not simply 'translations' but step-by-step accounts of every critical detail and apparent meaning that has been generally accepted by the academic community as of today (for they contain actual annotations in italics and brackets) filling in the space between with more simple re-arrangements of grammar. The mistake made by pioneers before us - and particularly Sparknotes or E-notes - is the lack of such annotations, that is to say, of specific references to historical fact. Without those, all that has been achieved is a gratuitous vanity of behalf of the author who could never possibly hope to compete with the sheer perfection Shakespeare provides with his own choice of words.

 

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Where adjectives or phrases of a particularly complex or ambiguous nature have been used, we spiel out a stream of thesauri to illuminate the core meaning. Often we would use the words from Mitford or Warburton's, Collier or Moberly's, Johnson or Malone's very own annotations! This is an art which requires a series of carefully selected words which must 'trap' the centralised meaning for the reader, who may well wish to grasp a further understanding of their own. We see this trick used at the end or beginning of dictionary definitions:

 

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You will notice the names of characters are retained by the left hand column along with Shakespeare's original verse, which forces the reader to reassert themselves to the original text every time they finish a block.

 

We explain things a straight forward way, without trying to be too smart about it.

 

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These books are efficient tools that do not require a teacher or a whiteboard - to grasp as one might grasp a page-turning thriller! - just a reader who speaks a moderate level of English. There is nothing like this that has ever been made before.