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Leon Garfield's Shakespeare Stories #2
Shakespeare Stories II
By skillfully weaving his own prose with Shakespeare's language, Leon Garfield has refashioned nine of the Elizabethan playwright's dramas into stories, capturing all the richness of the characters, plot, mood, and setting. This format will delight both those who know the great dramatist's works and those who are new to them. Plays included Much Ado About Nothing, Julius Caesar, Antony and Cleopatra, Measure for Measure, As You Like It, Cymbeline, King Richard the Third, The Comedy of Errors, and The Winter's Tale.
288 pages, Paperback
First published April 23, 1994
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108 people want to read
About the author
Leon Garfield
117 books49 followersLeon Garfield FRSL (14 July 1921 – 2 June 1996) was a British writer of fiction. He is best known for children's historical novels, though he also wrote for adults. He wrote more than thirty books and scripted Shakespeare: The Animated Tales for television.
Garfield attended Brighton Grammar School (1932-1938) and went on to study art at Regent Street Polytechnic, but his studies were interrupted first by lack of funds for fees, then by the outbreak of World War II. He married Lena Leah Davies in April, 1941, at Golders Green Synagogue but they separated after only a few months. For his service in the war he joined the Royal Army Medical Corps. While posted in Belgium he met Vivien Alcock, then an ambulance driver, who would go on to become his second wife (in 1948) and a well-known children's author. She would also greatly influence Garfield's writing, giving him suggestions for his writing, including the original idea for Smith. After the war Garfield worked as a biochemical laboratory technician at the Whittington Hospital in Islington, writing in his spare time until the 1960s, when he was successful enough to write full-time. In 1964, the couple adopted a baby girl, called Jane after Jane Austen, a favourite writer of both parents.
Garfield wrote his first book, the pirate novel Jack Holborn, for adult readers but a Constable & Co. editor saw its potential as a children's novel and persuaded him to adapt it for a younger audience. In that form it was published by Constable in 1964. His second book, Devil-in-the-Fog (1966), won the first annual Guardian Prize and was serialised for television, as were several later works (below). Devil was the first of several historical adventure novels, typically set late in the eighteenth century and featuring a character of humble origins (in this case a boy from a family of traveling actors) pushed into the midst of a threatening intrigue. Another was Smith (1967), with the eponymous hero a young pickpocket accepted into a wealthy household; it won the Phoenix Award in 1987. Yet another was Black Jack (1968), in which a young apprentice is forced by accident and his conscience to accompany a murderous criminal.
In 1970, Garfield's work started to move in new directions with The God Beneath the Sea, a re-telling of numerous Greek myths in one narrative, written by Garfield and Edward Blishen and illustrated by Charles Keeping. It won the annual Carnegie Medal for British children's books. Garfield, Blishen, and Keeping collaborated again on a sequel, The Golden Shadow (1973). The Drummer Boy (1970) was another adventure story, but concerned more with a central moral problem, and apparently aimed at somewhat older readers, a trend continued in The Prisoners of September (1975) republished in 1989 by Lions Tracks, under the title Revolution!, The Pleasure Garden (1976) and The Confidence Man (1978). The Strange Affair of Adelaide Harris (1972) was a black comedy in which two boys decide to test the plausibility of Romulus and Remus using one of the boys' baby sister. Most notable at the time was a series of linked long short stories about apprentices, published separately between 1976 and 1978, and then as a collection, The Apprentices. The more adult themed books of the mid-1970s met with a mixed reception and Garfield returned to the model of his earlier books with John Diamond, which won a Whitbread Award in 1980, and The December Rose (1986). In 1980 he also wrote an ending for The Mystery of Edwin Drood, unfinished at the 1870 death of Dickens, an author who had been a major influence on Garfield's own style.
He was elected a fellow of the Royal Society of Literature in 1985. On 2 June 1996 he died of cancer at the Whittington Hospital, where he had once worked.
Garfield attended Brighton Grammar School (1932-1938) and went on to study art at Regent Street Polytechnic, but his studies were interrupted first by lack of funds for fees, then by the outbreak of World War II. He married Lena Leah Davies in April, 1941, at Golders Green Synagogue but they separated after only a few months. For his service in the war he joined the Royal Army Medical Corps. While posted in Belgium he met Vivien Alcock, then an ambulance driver, who would go on to become his second wife (in 1948) and a well-known children's author. She would also greatly influence Garfield's writing, giving him suggestions for his writing, including the original idea for Smith. After the war Garfield worked as a biochemical laboratory technician at the Whittington Hospital in Islington, writing in his spare time until the 1960s, when he was successful enough to write full-time. In 1964, the couple adopted a baby girl, called Jane after Jane Austen, a favourite writer of both parents.
Garfield wrote his first book, the pirate novel Jack Holborn, for adult readers but a Constable & Co. editor saw its potential as a children's novel and persuaded him to adapt it for a younger audience. In that form it was published by Constable in 1964. His second book, Devil-in-the-Fog (1966), won the first annual Guardian Prize and was serialised for television, as were several later works (below). Devil was the first of several historical adventure novels, typically set late in the eighteenth century and featuring a character of humble origins (in this case a boy from a family of traveling actors) pushed into the midst of a threatening intrigue. Another was Smith (1967), with the eponymous hero a young pickpocket accepted into a wealthy household; it won the Phoenix Award in 1987. Yet another was Black Jack (1968), in which a young apprentice is forced by accident and his conscience to accompany a murderous criminal.
In 1970, Garfield's work started to move in new directions with The God Beneath the Sea, a re-telling of numerous Greek myths in one narrative, written by Garfield and Edward Blishen and illustrated by Charles Keeping. It won the annual Carnegie Medal for British children's books. Garfield, Blishen, and Keeping collaborated again on a sequel, The Golden Shadow (1973). The Drummer Boy (1970) was another adventure story, but concerned more with a central moral problem, and apparently aimed at somewhat older readers, a trend continued in The Prisoners of September (1975) republished in 1989 by Lions Tracks, under the title Revolution!, The Pleasure Garden (1976) and The Confidence Man (1978). The Strange Affair of Adelaide Harris (1972) was a black comedy in which two boys decide to test the plausibility of Romulus and Remus using one of the boys' baby sister. Most notable at the time was a series of linked long short stories about apprentices, published separately between 1976 and 1978, and then as a collection, The Apprentices. The more adult themed books of the mid-1970s met with a mixed reception and Garfield returned to the model of his earlier books with John Diamond, which won a Whitbread Award in 1980, and The December Rose (1986). In 1980 he also wrote an ending for The Mystery of Edwin Drood, unfinished at the 1870 death of Dickens, an author who had been a major influence on Garfield's own style.
He was elected a fellow of the Royal Society of Literature in 1985. On 2 June 1996 he died of cancer at the Whittington Hospital, where he had once worked.
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Displaying 1 - 5 of 5 reviews
May 24, 2022
I shall review these together as they are essentially two parts of the same thing. The only real difference is that I have read/seen/performed in all the plays in the first set of Shakespeare Stories but some of the second set were new to me.
The difficulty I had with these stories, is that the plot is often the weakest part of a Shakespeare play. People don’t see Shakespeare for the stories but for the characterisation, the wordplay, the construction of individual scenes that give actors the opportunity to give their all. What Garfield does fantastically well is tell the story, whilst integrating the key lines from the play in an organic way - these are really good Shakespeare retellings but I can’t get all that much from a retelling
The thing I found most interesting was the way Garfield brought out the themes of a play and settled on an interpretation on the stickier elements of certain plays. I’m not sure if they were his own interpretations or the most neutral ones, I suspect the latter.
So Twelfth Night emphasised the themes of madness and sanity, something which Shakespeare seemed very concerned about (that and poisons that feign death without being death, there’s a lot of those). King Lear had fun with the pre-Christian nature of the story and The Tempest revelled in the subversion that lies at the heart of the text, it’s a coming-together story more than a forgiveness one. The Merchant of Venice walks the tightrope of sympathy with Shylock whilst The Taming of the Shrew tries to construct a genuine love affair out of the horrific events of the tale, he also makes a valiant attempt to tie the Christopher Sly subplot into the rest of the play.
Where the retellings worked best for me were the plays I didn’t already know - and the one I had seen but hadn’t followed, which was Measure for Measure. It was interesting to see what the play was actually supposed to be about. It was also interesting to see how little Cymbeline is in Cymbeline. How violent and slapstick Comedy of Errors is, and just how many times Shakespeare does the old ‘swap cloaks and be seen as someone else’ deal.
In and of themselves, these are good retellings of the plays but I was only reading them for completions sake.
The difficulty I had with these stories, is that the plot is often the weakest part of a Shakespeare play. People don’t see Shakespeare for the stories but for the characterisation, the wordplay, the construction of individual scenes that give actors the opportunity to give their all. What Garfield does fantastically well is tell the story, whilst integrating the key lines from the play in an organic way - these are really good Shakespeare retellings but I can’t get all that much from a retelling
The thing I found most interesting was the way Garfield brought out the themes of a play and settled on an interpretation on the stickier elements of certain plays. I’m not sure if they were his own interpretations or the most neutral ones, I suspect the latter.
So Twelfth Night emphasised the themes of madness and sanity, something which Shakespeare seemed very concerned about (that and poisons that feign death without being death, there’s a lot of those). King Lear had fun with the pre-Christian nature of the story and The Tempest revelled in the subversion that lies at the heart of the text, it’s a coming-together story more than a forgiveness one. The Merchant of Venice walks the tightrope of sympathy with Shylock whilst The Taming of the Shrew tries to construct a genuine love affair out of the horrific events of the tale, he also makes a valiant attempt to tie the Christopher Sly subplot into the rest of the play.
Where the retellings worked best for me were the plays I didn’t already know - and the one I had seen but hadn’t followed, which was Measure for Measure. It was interesting to see what the play was actually supposed to be about. It was also interesting to see how little Cymbeline is in Cymbeline. How violent and slapstick Comedy of Errors is, and just how many times Shakespeare does the old ‘swap cloaks and be seen as someone else’ deal.
In and of themselves, these are good retellings of the plays but I was only reading them for completions sake.
July 12, 2022
Shakespeare Stories II Leon Garfield
Shortly before reading Shakespeare’s "The Winter’s Tale," I found "Shakespeare Stories II" by Leon Garfield. Unlike the websites that practically give you a ready-made term paper, this book renders each five-act play as a thirty-page story with illustrations by Michael Foreman. All the dialogue comes right out of Shakespeare’s text. What this collection adds is prose, to make it all hang together a little easier until you’re ready for iambic pentameter.
The next time I read Shakespeare, I’ll check out this book again or the first volume, "Shakespeare Stories."
Shortly before reading Shakespeare’s "The Winter’s Tale," I found "Shakespeare Stories II" by Leon Garfield. Unlike the websites that practically give you a ready-made term paper, this book renders each five-act play as a thirty-page story with illustrations by Michael Foreman. All the dialogue comes right out of Shakespeare’s text. What this collection adds is prose, to make it all hang together a little easier until you’re ready for iambic pentameter.
The next time I read Shakespeare, I’ll check out this book again or the first volume, "Shakespeare Stories."
April 9, 2023
Reading Shakespeare stories again and again reminds me how truly delightful and wonderful they are. I will definitely want to read this book again.
June 24, 2011
Splendid. It was awesome how the emotions were portrayed. I actually read that Richard play (and figured out the plot for the first time). I'd been leaning away from the Richard the III and Henry the IIs and all them and gone straight to the comedies, but I nerved myself for it. I might want to try more of those.
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June 23, 201726 Copies Available
2014-2015:
G7/8 Set
2014-2015:
G7/8 Set
Displaying 1 - 5 of 5 reviews