Shakespeare's Late StyleCambridge University Press, 10.08.2006 - 260 Seiten 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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Seite 41
Russ McDonald. Russ McDonald Shakespeare's Late Style Imogen awakes . s Sir , to Milford - Hauen , which is the hanke you : by yond bush ? pray how f ds pittikins : can it be fixe mile yet ? naue gone all night : ' Faith , lle lye do- ut ...
Russ McDonald. Russ McDonald Shakespeare's Late Style Imogen awakes . s Sir , to Milford - Hauen , which is the hanke you : by yond bush ? pray how f ds pittikins : can it be fixe mile yet ? naue gone all night : ' Faith , lle lye do- ut ...
Seite 44
... without Readings , ” in Shakespeare Reread : The Texts in New Contexts , ed . Russ McDonald ( Ithaca : Cornell University Press , 1994 ) , pp . 42-55 . ( 3.1.101-7 ) 6 Introduction to The Tempest ( London 44 Shakespeare's Late Style.
... without Readings , ” in Shakespeare Reread : The Texts in New Contexts , ed . Russ McDonald ( Ithaca : Cornell University Press , 1994 ) , pp . 42-55 . ( 3.1.101-7 ) 6 Introduction to The Tempest ( London 44 Shakespeare's Late Style.
Seite 46
... late style generally ; and Macbeth , notwithstanding its famous vegetative and sartorial clusters , exhibits the roots of this gestural , condensed use of figurative language . Syntactical experiments that alter ... Shakespeare's Late Style.
... late style generally ; and Macbeth , notwithstanding its famous vegetative and sartorial clusters , exhibits the roots of this gestural , condensed use of figurative language . Syntactical experiments that alter ... Shakespeare's Late Style.
Seite 48
... : Clarendon Press, 1989), and George Walton Williams, “Time for Such a Word: Verbal Echoing in Macbeth,” Shakespeare Survey 47 (1995), 153–59. Macbeth also contains an exceptionally high quotient of passages in 48 Shakespeare's Late Style.
... : Clarendon Press, 1989), and George Walton Williams, “Time for Such a Word: Verbal Echoing in Macbeth,” Shakespeare Survey 47 (1995), 153–59. Macbeth also contains an exceptionally high quotient of passages in 48 Shakespeare's Late Style.
Seite 50
... Shakespeare's augmentation of the verbal patterns at which I have glanced in Macbeth will bring about a stylistic transformation, a meta- morphosis that accompanies his exchange of tragedy for romance. But these ... Shakespeare's Late Style.
... Shakespeare's augmentation of the verbal patterns at which I have glanced in Macbeth will bring about a stylistic transformation, a meta- morphosis that accompanies his exchange of tragedy for romance. But these ... Shakespeare's Late Style.
Inhalt
Abschnitt 1 | 66 |
Abschnitt 2 | 76 |
Abschnitt 3 | 77 |
Abschnitt 4 | 81 |
Abschnitt 5 | 96 |
Abschnitt 6 | 99 |
Abschnitt 7 | 106 |
Abschnitt 8 | 156 |
Abschnitt 10 | 195 |
Abschnitt 11 | 199 |
Abschnitt 12 | 206 |
Abschnitt 13 | 219 |
Abschnitt 14 | 226 |
Abschnitt 15 | 229 |
Abschnitt 16 | 233 |
Abschnitt 17 | 244 |
Abschnitt 9 | 181 |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
alliteration Antony and Cleopatra appears Arcadia artifice assonance audience aural Cambridge chapter characters clauses Comedy complex consonants Coriolanus creates Cymbeline delight dramatic echoes effect Elizabethan ellipsis elliptical English episodes especially example female feminine figure gender grammatical Henry VIII illusion Imogen implies irony Jacobean Kenneth Burke kind King Lear language last plays late plays late style late verse Leontes listener literary London Macbeth Marina masculine meaning metaphor metrical mode narrative Noble Kinsmen omission Oxford passage Patricia Parker patterns Paulina Perdita Pericles perspective phrases playwright pleasure plot poet poetic poetry Princeton Prospero's Puttenham Queen reader reiterative relation repeated repetition reunion rhetorical rhythm rhythmic romance fiction scene seems self-conscious semantic sense sentence sexual Shakespeare Shakespearean romance Simon Palfrey sounds speak speech Stephen Booth stories structure stylistic syllables syntactical syntax Tempest theatre theatrical thee thou tion tragedies University Press verb verbal vowels Winter's Tale women words
Beliebte Passagen
Seite 253 - SYSTEMATIC defence of the theory here maintained, it would have been my duty to develope the various causes upon which the pleasure received from metrical language depends. Among the chief of these causes is to be reckoned a principle which must be well known to those who have made any of the Arts the object of accurate reflection ; namely, the pleasure which the mind derives from the perception of similitude in dissimilitude.
Seite 49 - 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.
Seite 180 - Tis her breathing that Perfumes the chamber thus. The flame o' th' taper Bows toward her and would under-peep her lids To see th' enclosed lights, now canopied Under these windows white and azure, lac'd With blue of heaven's own tinct.
Seite 200 - t in a woman's key, like such a woman As any of us three ; weep ere you fail; Lend us a knee ; But touch the ground for us no longer time Than a dove's motion, when the head 's pluck'd off; Tell him, if he i' the blood-siz'd field lay swoln, Showing the sun his teeth, grinning at the moon, What you would do ! Hip.