Shakespeare's three political tragedies_Hamlet, Macbeth, and King Lear_have numerously been presented or adapted on film. These three plays all involve the recurring trope of madness, which, as constructed by Shakespeare, provided a wider canvas on which to detail those materials that could not be otherwise expressed: sexual desire and expectation, political unrest, and, ultimately, truth, as excavated by characters so afflicted. Music has long been associated with madness, and was often used as an audible symptom of a victim's disassociation from their surroundings and societal rules, as well as their loss of self-control. In Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations, Kendra Preston Leonard examines the use of music in Hamlet, Macbeth, and King Lear. Whether discussing contemporary source materials, such as songs, verses, or rhymes specified by Shakespeare in his plays, or music composed specifically for a film and original to the director's or composer's interpretations, Leonard shows how the changing social and scholarly attitudes towards the plays, their characters, and the conditions that fall under the general catch-all of 'madness' have led to a wide range of musical accompaniments, signifiers, and incarnations of the afflictions displayed by Shakespeare's characters. Focusing on the most widely distributed and viewed adaptations of these plays for the cinema, each chapter presents the musical treatment of individual Shakespearean characters afflicted with or feigning madness: Hamlet, Ophelia, Lady Macbeth, King Lear, and Edgar. The book offers analysis and interpretation of the music used to underscore, belie, or otherwise inform or invoke the characters' states of mind, providing a fascinating indication of culture and society, as well as the thoughts and ideas of individual directors, composers, and actors. A bibliography, index, and appendix listing Shakespeare's film adaptations help complete this fascinating volume.

'Distracted Subjects' offers a feminist analysis of early modern madness. Carol Neely reveals the mobility & heterogeneity of discourses of 'distraction', the most common term for the condition in late 16th & early 17th century England.

Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink

Hamlet by William Shakespeare is a timeless tale of treachery, revenge, and existential angst, set against the dark and brooding backdrop of the Danish court. Prince Hamlet of Denmark is devastated by the sudden death of his father, King Hamlet, and is further disturbed by the hasty remarriage of his mother, Queen Gertrude, to his uncle, Claudius. The appearance of his father’s ghost reveals a sinister truth: King Hamlet was murdered by Claudius, who now wears the crown. The play delves into timeless themes such as the nature of existence, the meaning of life, the consequences of indecision, the corrupting influence of power, the complexities of family dynamics, and the inevitability of death. Driven by the ghost’s demand for vengeance, Hamlet embarks on a journey marked by feigned madness, profound introspection, and moral uncertainty. He wrestles with the heavy burden of avenging his father’s death while grappling with his own doubts and philosophical questions about life, death, and the afterlife. His famous soliloquy, "To be, or not to be," captures the essence of his inner turmoil and the universal human struggle with the meaning of existence. As Hamlet navigates the treacherous court, his erratic behavior alarms those around him. Polonius, the king's chief advisor, becomes suspicious and spies on him, leading to unintended consequences. Hamlet’s interactions with Ophelia, Polonius's daughter, further complicate the narrative, contributing to her descent into madness and eventual death. The play's tension reaches a peak when Hamlet stages a play, "The Mousetrap," to confirm Claudius's guilt. The performance, which reenacts the murder of King Hamlet, elicits a guilty reaction from Claudius, affirming Hamlet’s suspicions. Despite this confirmation, Hamlet’s indecision and delay in taking action propel the story towards a tragic climax. Hamlet is a profound exploration of the human condition, delving into themes of revenge, madness, and the search for truth. Shakespeare’s rich language and deep psychological insight create a complex and compelling narrative that continues to resonate with readers and audiences centuries after it was first written. This tragedy remains one of Shakespeare’s most powerful and enduring works, capturing the intricacies of the human psyche and the timeless struggle between action and inaction.

Murder, Mayhem, and Madness-- Collected here are five of William Shakespeare's greatest tragedies Romeo and Juliet, Hamlet, Macbeth, Othello, and King Lear. These are the plays that made Shakespeare's reputation. Murder, deceit, treachery, and madness play out on the grand stage. Stories for the ages! Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.