Tales from Shakespeare
1807
Tales from Shakespeare
1807
In 1807, two siblings set out to do something audacious: make Shakespeare accessible to children without dulling his genius. What they created has enchanted readers for over two centuries. Mary Lamb took on the comedies with a light, knowing touch, while Charles Lamb brought his darker sensibilities to the tragedies. Together, they produced a collection that preserves the Bard's lyricism even in simplified prose, creating not a watered-down version but a reverent reimagining that never talks down to its young readers. The tales move through Shakespeare's greatest works: the enchanted island where a magician manipulates fate, the moonlit forest where lovers and fairies collide, the streets of Verona where hatred blooms between ancient houses. Each retelling captures the emotional power and poetic rhythm of the originals while stripping away only the material too mature for young minds. The result reads like the world's best bedtime stories told by someone who worships the source. What makes this endure is its quiet ambition: not to replace the plays but to open a door. For two hundred years, children have first met Shakespeare through these pages, and countless adults return to them as a gentle re-entry point. It works whether you're eight or eighty, whether you're approaching the Bard for the first time or returning to remember what first pulled you in.
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“oftentimes these ministers of darkness tell us truths in little things, to betray us into deeds of greatest consequence.””
— Charles Lamb
“for he knew it was no usual name, but had been invented by himself for his own child to signify seaborn:””
— Charles Lamb
“bade her to doubt the stars were fire, and to doubt that the sun did move, to doubt truth to be a liar, but never to doubt that he loved;””
— Charles Lamb
“Romeo, Romeo!' said she, 'wherefore art thou Romeo? Deny thy father, and refuse thy name, for my sake; or if thou wilt not, be but my sworn love, and I no longer will be a Capulet.””
— Charles Lamb
“Now all things that were ordained for the festival were turned from their properties to do the office of a black funeral. The wedding cheer served for a sad burial feast, the bridal hymns were changed for sullen dirges, the sprightly instruments to melancholy.bells, and the flowers that should have been strewed in the bride’s path now served but to strew her corse. Now, instead of a priest to marry her, a priest was needed to bury her, and she was borne to church indeed, not to augment the cheerful hopes of the living, but to swell the dreary numbers of the dead.””
— Charles Lamb
“But though the two young writers are ostensibly concerned with children, they do not only mean children: when Coleridge invokes the imagination of a child, he is yearning for its power for himself. The child might be father to the man, as Wordsworth famously wrote in his ode, 'Intimations of Immortality', but that paternity was, ideally, internal and present and active: the Romantics were the first to conceive of the Inner Child, and to yearn to reinstate the child's sway over the adult. They expressed nostalgia for childhood; but even more acutely, they longed for childlikeness to endure in order to keep their faculties quick and fertile. And between them, Charles Lamb and Coleridge pioneered the idea of the crossover text, the work of fantasy that appeals across generations, such as 'The Rime of the Ancient Mariner', or, as it would turn out, .””
— Charles Lamb
“Adriana had so well profited by the good counsel of her mother-in-law, that she never after cherished unjust suspicions, or was jealous of her husband.[Pg 189]””
— Charles Lamb
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Lamb, Charles. Tales from Shakespeare. Lex, lex-books.com/book/tales-from-shakespeare-36f0d2c0-94c1-4e34-8aff-5cbc4f6a3b18.Lamb, C. (1807). Tales from Shakespeare. Lex. https://lex-books.com/book/tales-from-shakespeare-36f0d2c0-94c1-4e34-8aff-5cbc4f6a3b18Lamb, Charles. Tales from Shakespeare. Lex. https://lex-books.com/book/tales-from-shakespeare-36f0d2c0-94c1-4e34-8aff-5cbc4f6a3b18.







