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Much Ado About Nothing: A Verse Translation (Enjoy Shakespeare), by William Shakespeare
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This complete, line-by-line translation of Much Ado About Nothing makes the language of Shakespeare's play contemporary while preserving the metrical rhythm, complexity, and poetic qualities of the original.
The aim is to capture both sound and sense of Shakespeare's comedy without the need for glosses or notes--to use contemporary language without simplifying or modernizing the play in any other way.
Features
- Line-by-line verse translations, not prose paraphrases.
- Complete. No lines deleted or simplified.
- Accurate, authentic iambic pentameter.
- Looks and feels like Shakespeare's original.
- Tone, complexity, and poetic devices preserved.
- Subtlety and richness revealed without distracting notes and glosses.
- Attractive, easy-to-read layout.
- Ready for theatrical performance.
Readers experience this comic exploration of male suspicion and its consequences with the challenge, comprehension, and delight of audiences 400 years ago--the way Shakespeare intended.
"Too often, unless we read a Shakespeare play beforehand, we process the language as if it were coming from a poorly tuned-in radio station. Shakespeare didn't write his plays to be experienced impressionistically as 'poetry;' he assumed his language was readily comprehensible. At what point does a stage of a language become so different from the modern one as to make translation necessary? Mr. Richmond is brave enough to assert that, for Shakespeare, that time has come. The French have Moliere, the Russians have Chekhov--and now, we can truly say that we have our Shakespeare."
--John McWhorter, Manhattan Institute
- Sales Rank: #459729 in eBooks
- Published on: 2009-04-22
- Released on: 2009-04-22
- Format: Kindle eBook
From the Author
I began this project of translating Shakespeare into more contemporary English after reading an article by John McWhorter in his book The Word on the Street: Fact and Fable about American English. In the article, "In Centenary Honor of Mark H. Liddell: The Shakespearean Tragedy," McWhorter demonstrates how difficult Shakespeare is for modern theatergoers and calls for careful and thoughtful translations of the plays.
From the start, I wanted my translations to be literature and sound like Shakespeare. Getting that sound requires that I use the same style of blank verse (unrhymed iambic pentameter) that Shakespeare used and that I use it accurately. I also wanted the language in my translations to be challenging. Shakespeare used difficult language, both in the size of his vocabulary and the complexity of his sentences. As I translate, I maintain the same sentence length and complexity as in Shakespeare's original, careful not to simplify or "dumb him down." I want readers to forget that they are reading a translation.
To produce accurate translations, I trust none of my intuitions. With each line, I consult historical dictionaries and draw heavily on scholarship found in the many edited and glossed editions of the plays. I assume that without the help of scholars, I will fall for every false friend (words whose meanings have changed) and miss subtlety. Of course, I must sometimes guess at the meaning, but I prefer the guess be made by the many scholars who have closely studied Shakespeare since the 18th century. My job is to figure out what each line means and then make it more comprehensible in language that seems Shakespearean.
I hope you get a chance to read one of my translations. The patina that builds up on an antique over time can no doubt add its own beauty, but it can also hide it. You might be surprised just how good Shakespeare is when a bit of the grime and discoloration left by language change has been removed.
About the Author
Until his retirement in 2008, Kent Richmond taught composition, critical thinking, literature, and linguistics for the English Department and American Language Program at California State University, Long Beach. His chief academic interest is adult second language acquisition and the role that vocabulary learning plays in that process. His textbook, Inside Reading 4 (2008,2012) from Oxford University Press, is part of a reading/vocabulary series that won David E. Eskey Award for Curricular Innovation from the California Teachers of English to Speakers of Other Languages.
Drawing on his background in applied lingustics and literature, Kent has taken on the task of writing verse translations of Shakespeare plays in contemporary English. By applying his detailed knowledge of Shakespeare's iambic pentameter, he can give his translations an authenticity that the available prose translation's lack. He has completed translations of Hamlet, Romeo and Juliet, King Lear, Twelfth Night, Much Ado About Nothing, Julius Caesar, and Macbeth. He is currently working on The Tempest.
A musician and singer, Kent is a member of the California Trio, a folk-based group that performs regularly in Southern California.
Most helpful customer reviews
2 of 2 people found the following review helpful.
At Last, Comprehensible Shakespeare!
By Schmedley
I've never enjoyed reading Shakespeare; it always seemed to be a foreign language that was badly translated. The nuances of Elizabethan English were lost on me, particularly in those works with terse (or nonexistent) footnotes that offered little clue on the author's 500 year old connotations and intentions. There's also the fact that Shakespeare's plays were not intended to be read, but rather enjoyed in performance. Once I started to see these plays come alive in my latter years, my appreciation of the the bard and his gifts grew immeasurably.
Yet, even watching Shakespeare often left me scratching my head as much of the vocabulary flew by and I could only get a rough idea of what it meant from the context and the actors' inflection and gestures. I still kept a Shakespeare anthology nearby to seek insight when some word or phrase left me dumbfounded despite the best efforts of the players.
Now, Kent Richmond has blasted away the scales from my eyes. Having read John McWhorter's commiseration on Shakespeare's incomprehensibility to 21st century ears [...]), I downloaded Mr. Richmond's translation of "Much Ado About Nothing" with some apprehension (since it is one of my favorite plays). My worries were unfounded as I discovered that Mr. Richmond has presented us less literate Shakespeare lovers with a wonderful service. He has rendered Shakespeare's words into modern sensibility without rending their meaning. I compared his translation with a more traditional one found in https://www.amazon.com/gp/product/B00433TO52/ref=kinw_myk_ro_title and was delighted to see that he has added virtually nothing but clarity and insight. As he says in his foreword, the color has returned to some very old works.
I'm by no means a scholar, but if you do love Shakespeare and don't have the academic wherewithal to undertake it without reference materials, I heartily recommend Kent Richmond's work. Having been delighted with his "Much Ado," I have downloaded his "Macbeth" with great anticipation of another great read.
0 of 0 people found the following review helpful.
Very good rendering of the Bard
By Mark Butterworth
I'm a Bard afficianando, but what I've read of the first scenes from Look Inside persuade me that the translator has made much of what was nearly unintelligable easy to follow and get without sacrificing too much of the Bard's wit and wordplay.
I'm going to buy this book, and I also had a look inside his Hamlet and liked it very much, too.
After all, I've only read and loved Dante and many others through translation, I think this works well for contemporary audiences and students.
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