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Leon Garfield's Shakespeare Stories #1
丿丕爻鬲丕賳賴丕蹖 卮讴爻倬蹖乇
Here are twelve of Shakespeare's most memorable plays, presented in a fresh narrative form to delight both those who know the plays well and those who are new to them. Dramatic color illustrations and varied black-and-white drawings perfectly capture the mood of each story.
435 pages, Paperback
First published January 1, 1985
95 people are currently reading
545 people want to read
About the author
Leon Garfield
123听books46听followersLeon Garfield FRSL (14 July 1921 鈥� 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 - 30 of 42 reviews
July 16, 2020
丕夭 賲蹖丕賳 丿丕爻鬲丕賳 賴丕蹖卮 亘賴 賳馗乇賲 賴賲賱鬲 賵 賲讴亘孬 賵 丕鬲賱賱賵 夭蹖亘丕鬲乇 亘賵丿. 賴賲賱鬲 卮丕蹖丿 亘賴 禺丕胤乇 丕蹖賳讴賴 賯亘賱 丕夭 禺賵丕賳丿賳 丿丕爻鬲丕賳卮 賮蹖賱賲卮 乇丕 丿蹖丿賴 亘賵丿賳丿 賴乇趩賳丿 讴賴 丕禺鬲賱丕賮丕鬲 噩夭蹖蹖 賮蹖賱賲 亘丕 賲鬲賳 丿丕爻鬲丕賳 丿丕卮鬲 賵賱蹖 亘賴 賴乇 丨丕賱 賮蹖賱賲 禺賵亘蹖 亘賵丿 賵 丕乇夭卮 丿蹖丿賳 丿丕卮鬲.
丿乇亘丕乇賴 卮讴爻倬蹖乇 亘夭乇诏 賴賲 讴賴 丨乇賮 賵 丨丿蹖孬 亘爻蹖丕乇 丕爻鬲 賵 蹖讴蹖 丕夭 賮蹖賱賲 賴丕蹖蹖 讴賴 亘賴 丕蹖賳 卮亘賴丕鬲 倬乇丿丕禺鬲賴 賮蹖賱賲蹖 丕爻鬲 亘丕 毓賳賵丕賳 "賳丕卮賳丕爻". 丿乇 賴乇 氐賵乇鬲 賯賱賲 賵蹖 丿乇 倬乇丿丕禺鬲 氐丨賳賴 賴丕蹖 毓丕卮賯丕賳賴 賵 丨爻丕丿鬲 賴丕蹖 丌賳 亘蹖 賳馗蹖乇 丕爻鬲.
丿乇亘丕乇賴 卮讴爻倬蹖乇 亘夭乇诏 賴賲 讴賴 丨乇賮 賵 丨丿蹖孬 亘爻蹖丕乇 丕爻鬲 賵 蹖讴蹖 丕夭 賮蹖賱賲 賴丕蹖蹖 讴賴 亘賴 丕蹖賳 卮亘賴丕鬲 倬乇丿丕禺鬲賴 賮蹖賱賲蹖 丕爻鬲 亘丕 毓賳賵丕賳 "賳丕卮賳丕爻". 丿乇 賴乇 氐賵乇鬲 賯賱賲 賵蹖 丿乇 倬乇丿丕禺鬲 氐丨賳賴 賴丕蹖 毓丕卮賯丕賳賴 賵 丨爻丕丿鬲 賴丕蹖 丌賳 亘蹖 賳馗蹖乇 丕爻鬲.
February 12, 2021
The gold standard for Shakespeare stories for children is Charles and Mary Lamb, published in 1807.
Then there's E. Nesbit's version, also well done if wordier that most kids today will like. But Leon Garfield steps up and what a job he does! Michael Foreman's illustrations add just the right visual to these masterful retellings of The Master's plays.
Then there's E. Nesbit's version, also well done if wordier that most kids today will like. But Leon Garfield steps up and what a job he does! Michael Foreman's illustrations add just the right visual to these masterful retellings of The Master's plays.
March 13, 2016
12 Shakespeare plays retold as short stories.
The Prince was also reading; but there was a deeper likeness between Hamlet and Ophelia than such outward show. Each had been commanded by a father, one living, one dead, to play a part for which nature had not fashioned them: Ophelia for deceit, and Hamlet for murderous revenge.
The Prince was also reading; but there was a deeper likeness between Hamlet and Ophelia than such outward show. Each had been commanded by a father, one living, one dead, to play a part for which nature had not fashioned them: Ophelia for deceit, and Hamlet for murderous revenge.
January 11, 2022
As part of our BraveWriter Arrow study we read:
Romeo and Juliet
A Midsummer Night鈥檚 Dream
Much Ado About Nothing
Julius Caesar
Enjoyed these retellings, though I did get a little turned around in Much Ado. Could be attributed to user error.
Romeo and Juliet
A Midsummer Night鈥檚 Dream
Much Ado About Nothing
Julius Caesar
Enjoyed these retellings, though I did get a little turned around in Much Ado. Could be attributed to user error.
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鈥檛 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鈥檛 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鈥檓 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鈥檚 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鈥檚 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鈥檛 already know - and the one I had seen but hadn鈥檛 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 鈥榮wap cloaks and be seen as someone else鈥� 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鈥檛 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鈥檛 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鈥檓 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鈥檚 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鈥檚 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鈥檛 already know - and the one I had seen but hadn鈥檛 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 鈥榮wap cloaks and be seen as someone else鈥� deal.
In and of themselves, these are good retellings of the plays but I was only reading them for completions sake.
October 19, 2016
The first time I read anything by William Shakespeare was 9th grade. I didn't understand it. I don't think my teacher understood. And it didn't ignite a spark in me to read more of his works. I would like to say as my high school years passed I got progressively better, but it wasn't until I read Hamlet that I developed a true interest in Shakespeare. As I have grown older, I have read many different works on Shakespeare, including Catholic interpretations of his works and children's books that make his works more accessible and approachable to a younger audience. Today, I would like to tell you about Leon Garfield's Shakespeare Stories.
The book has twenty-one of Shakespeare's works including Hamlet, Othello, Macbeth, and Julius Caesar to name a few. Each work is approximately 20-30 pages long and is told in prose, not poetry. However, the actual lines from Shakespeare's plays are quoted. The language is simple and straightforward without sacrificing the beauty of the Bard. The book itself is a sturdy hardcover, which is much appreciated, and of a manageable size. The only elements I feel are missing from this book is an introduction, more illustrations, and I would have liked for each story to be broken into acts, like the actual plays were. Overall, I found this book to be the perfect introduction to Shakespeare for children in middle school or perhaps younger, if they are avid readers. In fact, I used the book as jumping off point for some of Shakespeare's plays that I have never read before, so there is a usefulness in this book for adults as well. I would much rather read this work and then the actual play, as opposed to Cliff's Notes. So if you are looking for a book to get your child, tween, or teen with Shakespeare, I can recommend no better book than this one.
March 11, 2016
This was a delightful book of Shakespeare Stories. I saved the two that I was unfamiliar with to read last and thoroughly enjoyed them (Cymbeline & Measure for Measure). I'm ready to get reacquainted with Shakespeare!
February 27, 2016
A collection of 12 of Shakespeare's more famous plays, retold and written in a modern, engaging style.
October 4, 2021
I have not read it cover to cover, but I've read a dozen of the plays and they are absolutely fabulous! The way the author weaves in the actual Shakespeare language and quotes in the midst of his extremely well written prose is fantastic. It really gives you a beautiful and deep feel for the storyline and the language and the spirit of the plays. The comedies had us laughing out loud. Best adaptation of Shakespeare I've ever read and not just for kids -- teenagers and adults will love it too! I would think it would be an excellent supplement for older students to read alongside the original Shakespearean plays.
June 1, 2018
I bought this and the second volume whilst visiting Shakespeare's birth place in Stratford. This one contains 12 of the most popular plays retold as short stories, including amongst others, Romeo and Juliet, Macbeth, Hamlet, Othello and The Tempest. All were easy to understand and quick to read through. Much easier in fact than all that time spent in school trying to get to grips with the original work!
May 6, 2020
This is a great introduction to some of Shakespeare's best plays, retold as lyrical short stories with most of the original dialogue intact. Though it's advertised as being a Shakespeare collection for children, I think that if it were published today it would be classified and marketed as young adult and/or new adult (the word "whore" is used a lot in this book, which is nothing particularly shocking for teens or twenty-somethings, but certainly not appropriate for kids).
December 14, 2023
We didn't read all of the plays in this collection, but Zeke and I enjoyed the ones we did read together. The adaptations herein are so approachable and easy(ish) for young ears to understand...and, honestly, for me as well! I'll keep this on the shelf for when my kids study Shakespeare in high school!
March 17, 2024
Read Romeo and Juliet, A Midsummer Night鈥檚 Dream, Much Ado About Nothing and Julius Cesar. I had hoped these adaptations would be more kid friendly in their editing than it turned out to be. I do like its story format (rather than a play script) with frequent direct quotes. Will probably read other plays from this collection in the future.
June 4, 2024
A collection of Shakespeare stories written, I believe, for young adults.
I would suggest YA because Garfield's language is very heightened and somewhat archaic, meaning the change between his prose and the original Shakespeare is fairly seamless.
I thought it was a good quick intro to the tales - I read it aloud to my older two children and they were mostly engaged.
I would suggest YA because Garfield's language is very heightened and somewhat archaic, meaning the change between his prose and the original Shakespeare is fairly seamless.
I thought it was a good quick intro to the tales - I read it aloud to my older two children and they were mostly engaged.
July 15, 2023
A wonderful collection of the Bard's plays. Garfield takes 21 of Shakespeare's plays and rewrites them for children, and adults. His renditions are faithful to the originals and a delight to read. A must read for fans, or those who want to be fans, of Shakespeare.
November 19, 2017
Very useful abridged Shakespeare plays.
July 22, 2018
A fantastic volume for middle-school students, each story between 25 - 35 pages long, but including all important events and all characters.
February 21, 2019
Finally I am done! I read Shakespeare. I actually kinda enjoyed it. If you haven't enjoyed Shakespeare in the past but have wanted too, I would highly recommend giving this a shot.
April 14, 2021
Best retelling of Shakespeare I have found! I liked it much better than Lambs version.
January 25, 2022
Shakespeare plays retold as short stories. Easier to read aloud to kids, but some have mature content.
April 23, 2022
Great introduction to Shakespeare! The writing is so great with quotes from the actual plays. Perfect for my reluctant 7th grader.
May 17, 2022
not the same edition tho
September 21, 2022
Garfield's are my favorite prose retellings of Shakespeare's plays. There's not just the story laid out, but he pulls together themes and symbolism in a really beautiful way.
May 7, 2023
LOVED this book! I so enjoy reading Shakespeare's stories again and again. His comedies always delight me!
March 6, 2025
賮蹖賱賲賳丕賲賴 賴丕蹖 賲禺鬲賱賮 卮讴爻倬蹖乇 亘丕 亘蹖丕賳 乇賵丕賳賴
丕鬲賱賵
乇賵賲卅賵 賵 跇賵賱蹖鬲
卮丕賴 賱蹖乇 賵 賴賲賱鬲 ...
丕賱亘鬲賴 亘丕 鬲卅丕鬲乇卮賵賳 亘亘蹖賳蹖賳 亘丕丨丕賱鬲乇 賲蹖卮賴
丕鬲賱賵
乇賵賲卅賵 賵 跇賵賱蹖鬲
卮丕賴 賱蹖乇 賵 賴賲賱鬲 ...
丕賱亘鬲賴 亘丕 鬲卅丕鬲乇卮賵賳 亘亘蹖賳蹖賳 亘丕丨丕賱鬲乇 賲蹖卮賴
March 17, 2025
Nice n easy refreshers of Shakespeare's most famous comedies/tragedies. Simplified and to-the-point. Trip down memory lane, enjoyed
October 16, 2019
Extremely fanciful and interesting. Recommended for Macbeth lovers.
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September 2, 2016How to introduce kids to Shakespeare鈥攏ot just to the stories behind the plays but to the richness of his language and the depth of his characters. That鈥檚 the challenge that Leon Garfield, a wonderful children鈥檚 book writer, undertook to meet in his monumental and delightful Shakespeare Stories. Here are twenty-one of the Bard鈥檚 plays, presented in what is not a series of dry retellings, but rather a refashioning of the dramas as stories, in a way that remains true to the essential spirit of the original versions. Garfield has captured all the richness of character, plot, mood, and setting in Shakespeare鈥檚 works without resorting to simplification. Indeed, he deliberately retains much of Shakespeare鈥檚 language, skillfully weaving it into his own prose so that the reader is introduced to the flavor of the verse, as well as to the incidents of plot and the spectacle of the drama. Leon Garfield鈥檚 Shakespeare Stories is an essential distillation鈥攁 celebration and a reminder of Shakespeare鈥檚 genius as a poet and dramatist.
December 7, 2010
This book frightened me a youngster. I think it was mainly the very disturbing artwork, although Shakespeare himself did come up with some bizarre scenes!
Still, this book did contribute to my modern-day love of Shakespeare's works, something that I will always be grateful for. You can't really count yourself a great reader (in my eyes anyway) if you don't find yourself with an affinity for some of the prose and verse that this man (or whatever, conspiracies aside, for this review) had used/invented.
I love how there are great 'children's versions' out there that allow you to get a taste of his Middle English with our Modern English tossed in. Definitely a great book to have acquired at such a young age!
Still, this book did contribute to my modern-day love of Shakespeare's works, something that I will always be grateful for. You can't really count yourself a great reader (in my eyes anyway) if you don't find yourself with an affinity for some of the prose and verse that this man (or whatever, conspiracies aside, for this review) had used/invented.
I love how there are great 'children's versions' out there that allow you to get a taste of his Middle English with our Modern English tossed in. Definitely a great book to have acquired at such a young age!
September 2, 2016
This vivid re-telling of Shakespeare's plays is full of descriptive language. It hits on the crucial points of the various stories and includes important dialog. Very enjoyable to read for an adult who isn't up for a re-read of all those plays we read in high school! (or those we never got to but should have). Children would enjoy it to and I think it would be helpful to read before the plays so as to get the gist of the story.
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