Shakespeare's Late Style
Cambridge University Press, 10.08.2006
When Shakespeare gave up tragedy around 1607 and turned to the new form we call romance or tragicomedy, he created a distinctive poetic idiom that often bewildered audiences and readers. The plays of this period, Pericles, Cymbeline, The Winter's Tale, The Tempest, as well as Shakespeare's part in the collaborations with John Fletcher (Henry VIII and The Two Noble Kinsmen), exhibit a challenging verse style - verbally condensed, metrically and syntactically sophisticated, both conversational and highly wrought. In Shakespeare's Late Style, McDonald anatomizes the components of this late style, illustrating in a series of topically organized chapters the contribution of such features as ellipsis, grammatical suspension, and various forms of repetition. Resisting the sentimentality that frequently attends discussion of an artist's 'late' period, Shakespeare's Late Style shows how the poetry of the last plays reveals their creator's ambivalent attitude towards art, language, men and women, the theatre, and his own professional career.
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A. C. Bradley analysis Anthony Dawson artistic audience blank verse Bradley C. L. Barber Cambridge University Press Cardenio chapter character collaboration comedies Cymbeline Cyrus Hoy Defining Shakespeare distinctive Dowden’s dramatic verse dramatist early modern edition especially Essays fractal Frank Kermode genre Gordon McMullan Hamlet Henry VIII Introduction King’s Language of Shakespeare’s late plays Late Shakespeare late verse Leontes literary Mark Womack means metaphor Methuen metrical mode Mowat narrative Noble Kinsmen Northrop Frye Oxford University Press Palfrey’s passages patterns Pericles phrase poetry Princeton problems reader Renaissance rhetoric Roger Warren Routledge S. L. Bethell scenes scholars sense Shake Shakespeare Shakespeare Survey Shakespeare’s career Shakespeare’s Final Period Shakespeare’s Language Shakespeare’s Last Plays Shakespeare’s late style Shakespeare’s Plays Shakespeare’s Romances Shakespeare’s Sonnets Shakespeare’s Styles Shakespearean Sentences speaker speare’s Stephen Booth Stephen Orgel Strachey Strachey’s structure stylistic criticism syntax Tempest texts textual theatrical tragicomedy Tragicomic twentieth-century verbal What’s Wilson Knight Winter’s Tale
Seite 8 - Sleep no more! Macbeth does murder sleep,' the innocent sleep, Sleep that knits up the ravelled sleave* of care, The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast,— Lady M, What do you mean ? Macb. Still it cried' Sleep no more !' to all the house ' Glamis hath murdered sleep, and therefore Cawdor Shall sleep no more; Macbeth shall sleep no more.