Reviews for The Second Part of the History of Henry IV: The Cambridge Dover Wilson Shakespeare

The average rating for The Second Part of the History of Henry IV: The Cambridge Dover Wilson Shakespeare based on 2 reviews is 4 stars.

Review # 1 was written on 2016-01-10 00:00:00 Dwain Bredwood Henry IV, Part 2 (Wars of the Roses, #3), William Shakespeare Henry IV, Part 2 is a history play by William Shakespeare, believed written between 1596 and 1599. It is the third part of a tetralogy, preceded by Richard II and Henry IV, Part 1 and succeeded by Henry V. The play is often seen as an extension of aspects of Henry IV, Part 1, rather than a straightforward continuation of the historical narrative, placing more emphasis on the highly popular character of Falstaff and introducing other comic figures as part of his entourage, including Ancient Pistol, Doll Tearsheet and Justice Robert Shallow. Several scenes specifically parallel episodes in Part 1. تاریخ نخستین خوانش: روز دهم ماه ژانویه سال 1989میلادی عنوان: بخش دوم شاه هنری چهارم؛ عنوان قراردادی: هنری چهارم - بخش دوم؛ نویسنده: ویلیام شکسپیر؛ مترجم: احمد خزاعی؛ تهران، اسفار، 1367، در 229ص، عکس، عنوان روی جلد هنری چهارم؛ موضوع: نمایشنامه هنری چهارم شاه انگلستان 1367میلادی تا 1413میلادی سده 16م دومین بخش «هنری چهارم»، سومین نمایشنامه از یک مجموعه ی چهار نمایشنامه ای است، که «شکسپیر» در آنها، دوران حکومت «ریچارد دوم»، «هنری چهارم»، و «هنری پنجم»، سه تن از پادشاهان «انگلستان» را، بازگو مینماید؛ اما مهمترین نکته ای که باید دریافت، اینست که بخش دوم «هنری چهارم»، نمایشنامه ای است یگانه، و با بخش نخست «هنری چهارم»، کاملا متفاوت است؛ این نمایشنامه اگرچه همانند سه نمایشنامه دیگر این سری، به رخدادهای تاریخی میپردازد، اما از نظر سبک و لحن با آنها تفاوت دارد تاریخ بهنگام رسانی 20/11/1399هجری خورشیدی؛ ا. شربیانی

Review # 2 was written on 2007-05-12 00:00:00 Jenny Brant This is chillier world than the first part of Henry IV, lacking in both its good humor and its generosity. Falstaff is not nearly so funny apart from Hal, Prince John is a much icier foil than the mercurial Hotspur, and Hal himself--whom we wish to like--makes himself disagreeable by stealing his dying father's crown and snubbing the fat knight we love. Yet Shakespeare, by subtle degrees, leads us to the point where we come to admire Hal and believe in his moral transformation. Images of gestation and generation abound in this very masculine play, demonstrating how many unlooked-for things may grow within the womb of time, how even the most dissolute of princes may mature into a great warrior king.