2704 books for « shakespeare w »Edit

‎Shakespeare's Comedies - Shakespeare's Tragedies - Shakespeare's Histories and Poems.‎

‎London / New York, J. M. Dent and Sons / E. P. Dutton, 3 volumes in-8 de [8]-847; [6]-981 et [6]-887 pages, plein maroquin vert, dos à 5 nerfs ornés de filets, roulettes, décors et titre dorés, filet doré encadrant les plats et sur les coupes, tranches dorées, filet intérieur, gardes marbrées. Reliures signées Asprey & Co.‎

‎Illustré de vignettes de titre et de 39 hors-texte (14+13+12) de Edmund Joseph Sullivan, protégés par des serpentes légendées. En très belle condition. ‎

‎Tombeau d'amour, deux sonnets de Shakespeare par Pierre Jean Jouve.‎

‎ Guy Lévis Mano, 1937. Broché, feuillets collés non cousus, couverture muette rempliée. 25 x 24,1 cm. ‎

‎ Tirage à 250 exemplaires, n°53 des 210 sur vélin. Envoi de Jouve au poète Robert Guiette. [162]. ‎

‎La farce des joyeuses commères. Librement traduite en vers et en prose, en langue noble et en style familier, de l'anglais du fameux Guillaume Shakespeare pour être adapté au tréteau contemporain.‎

‎Genève, aux éditions du Trèfle, 1928. In-8 broché de 68-[4] pages, couverture imprimée. ‎

‎ Edition originale à 750 exemplaires, celui-ci un des 50 d'auteur, noté de la main de ce dernier comme tel au justificatif. Agrémenté d'un envoi autographe signé, toujours de Piachaud, au faux-titre. ‎

‎La tragédie de Coriolan, traduite librement de l'anglais de Shakespeare et adaptée à la scène française par René-Louis Piachaud. Suivie d'un examen de cette tragédie.‎

‎Paris, Calmann-Lévy, 1934. In-12 de [8]-III-239-[5] pages, demi-maroquin tabac, dos à 5 nerfs avec titre doré, tête dorée, double filet doré sur les plats, gardes et plats de papier marbrés avec reflets dorés, couverture et dos conservés. Quelques tout petits frottements aux mors et aux coiffes. Deux coupures de presses relatives au décès de Léon Bernard collées en début, avant la couverture. Reliure signée Arné Asper.‎

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‎ Tragédie représentée à la Comédie Française en décembre 1933, sous l'impuslion et la direction de Emile Fabre, qui fut destitué suite à cette pièce, sous prétexte qu'elle provoquait chaque soir des manifestations contre le gouvernement.Notre exemplaire tout à fait exceptionnel comporte 9 envois autographes signés à Monsieur Coptier de l'auteur, de la troupe, soit Léon Bernard (Moenenius Agrippa), René Alexandre (Coriolan) et son épouse Gabrielle Robinne (qui fut l'une des première actrices filmées pour le cinéma muet), ainsi que d'autres collaborateurs à cette adaptation qui fit grand bruit, dont Raoul-Henry (des «Tragédiens associés»). ‎

‎Le songe d’une nuit d’été.‎

‎Lausanne, Ed. André Gonin, 1944. 1 vol. en feuilles (191 x 259) de 142-[8] pages, couverture bleue à rabats, sous chemise demi-vélin blanc et étui carton. blanc. ‎

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‎Illustré de 11 bois originaux de Henry Bischoff. Tiré à 300 exemplaires. Celui-ci un des 250 numérotés sur vélin du Marais teinté crème, signé par l’éditeur et l’artiste. Ex. nominatif, avec une suite de 5 bois en bistre non anoncée. ‎

‎La tempête.‎

‎Lausanne, André Gonin, (1943). Un volume in-4 (37.4 x 27.6) en feuilles sous emboîtage. ‎

‎Illustré par Alexandre Cingria de 10 gouaches originales signées en pleines page exécutées par l’artiste. Version française de Pierre Louis Matthey. Illustrations absolument magnifiques d' Alexandre Cingria qui mérite bien son surnom de “Prince de la Couleur”. Tiré à 37 exemplaires numérotés sur vélin à la forme signé par l’éditeur et l’artiste. De toute rareté. ‎

‎12 sonnets. Texte anglais. Traduction et présentation par Maurice Blanchard.‎

‎ Guy Lévis Mano, Collection Poésie commune, n° 5, 1947. Broché, couverture ivoire imprimée et rempliée. 25,4 x 19,4 cm. ‎

‎ Tirage à 405 exemplaires, n°12 des 15 de tête sur normandy vellum. [251]. ‎

‎12 sonnets. Texte anglais. Traduction et présentation par Maurice Blanchard.‎

‎ Guy Lévis Mano, Collection Poésie commune, n° 5, 1947. Broché, couverture ivoire imprimée et rempliée. 25,4 x 19,4 cm. ‎

‎ Tirage à 405 exemplaires, n°K des 27 sur vélin du Marais réservés aux Amis de GLM, signé par ce dernier. [251]. ‎

‎Le phénix et la tourterelle.‎

‎ Guy Lévis Mano, 1959. En feuilles, couverture blanche imprimée et rempliée. 12 x 12 cm. ‎

‎ Tirage à 225 exemplaires sur vergé d'Ingres, n°145 imprimé pour l'écrivain Franz Hellens. [439]. ‎

‎Le phénix & la tourterelle.‎

‎ Guy Lévis Mano, 1960. En feuilles, couverture crème imprimée et rempliée. 24,3 x 18,6 cm. ‎

‎ Tirage à 630 exemplaires, n°21 des 30 de tête sur vergé de Hollande Pannekoek. [442]. ‎

‎Six sonnets. Texte anglais avec les traductions de François-Victor Hugo et Maurice Blanchard.‎

‎ Guy Lévis Mano, 1970. Broché, couverture beige imprimée, non coupé. 19,3 x 14,2 cm. ‎

‎ Tirage à 910 exemplaires, non numéroté, comme les 20 de tête sur vélin de Renage. [518]. ‎

‎Le songe d'une nuit d'été. Traduction libre, prosaïque et rythmée par René-Louis Piachaud.‎

‎Genève, éditions A. Ciana, 1923. In-8 broché de 62-[2] pages, vignette de titre contrecollée au premier plat. ‎

‎Dessin de Benjamin Vautier en frontispice de Benjamin Vautier, qui l'a colorié à la main. Couverture très légèrement insolée, pour le reste en belle condition. ‎

‎Les joyeuses commères de Windsor.‎

‎Paris, Librairie Hachette, 1912. Un vol. in-4 (20x26) relié en percaline bleue, plat supérieur décoré, tête dorée (reliure d’éditeur). Papier jauni en bords de certains feuillets. ‎

‎Illustrations en couleurs d’Hugh Thomson. ‎

‎Macbeth.‎

‎Paris, Tériade, 1958. In-folio en feuilles de 113-[8] pages, couverture blanche imprimée à rabats, sous chemise et étui carton. Belle condition. ‎

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‎Illustré de 20 eaux-fortes originales de Marcel Gromaire (les cuivres ont été rayés après tirage). Tiré à 180 exemplaires numérotés sur Rives signés par l’artiste. ‎

‎Shakespeare W. Shakespeare William. The Complete Works of William Shakespeare w‎

‎Shakespeare W. Shakespeare William. The Complete Works of William Shakespeare with a life of the poet by Charles Symmons. In Russian /Shakespeare W.Shekspir Vilyam. The Complete Works of William Shakespeare with a life of the poet by Charles Symmons. Complete in one volume. London. Atlantis. 1980. 910 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. SKUalbf28222e60afefe2a.‎

‎Shakespeare Shakespeare. The works of Shakespeare in four volumes. A collectio‎

‎Shakespeare Shakespeare. The works of Shakespeare in four volumes. A collection of Shakespeares writings. Volume II In Russian /Shakespeare Shekspir. The works of Shakespeare in four volumes. Sobranie sochineniy Shekspira.Tom II Moscow Co-operative Publishing Society of forestry workers in the US 1937. 876 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. SKUalb9a8f388ac64f942b.‎

‎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.‎

‎Shakespeare, William: William Shakespeare. The Complete Works of William Shake‎

‎Shakespeare, William: William Shakespeare. The Complete Works of William Shakespeare The Complete Works of William Shakespeare. In Russian /Shakespeare,William:Uilyam Shekspir. TheCompleteWorks ofWilliamShakespearePolnoe sobranie sochineniy Uilyama Shekspira. London. Race Point 2014. 1296c. 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. SKUalbef3301ed35d04cc0.‎

‎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.‎

‎The Winter's Tale (New Penguin Shakespeare)‎

‎Penguin Classics 1981 256 pages 11 15x1 55x17 98cm. 1981. Broché. 256 pages.‎

‎Bon état‎

‎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