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 43
... late plays as well) and evinces profound concerns about words, women, and the world of the theatre. Its desperate negativity has seemed to some critics to denote an authorial blockage relieved by the shift to romance: to Clifford Leech ...
... late plays as well) and evinces profound concerns about words, women, and the world of the theatre. Its desperate negativity has seemed to some critics to denote an authorial blockage relieved by the shift to romance: to Clifford Leech ...
Seite 44
... last act of Pericles than , say , the last act of Julius Caesar . This reiterative poetic texture exposes with unusual clarity the playwright's mixed feelings about language , its irresistible attractions and inherent duplicity . What ...
... last act of Pericles than , say , the last act of Julius Caesar . This reiterative poetic texture exposes with unusual clarity the playwright's mixed feelings about language , its irresistible attractions and inherent duplicity . What ...
Seite 47
... play . Without wanting to disallow such readings , one is compelled to point out that passage after passage in Cymbeline , The Winter's Tale , and Henry VIII is spun out by just such an aggregation of clauses . Macbeth's few lines ...
... play . Without wanting to disallow such readings , one is compelled to point out that passage after passage in Cymbeline , The Winter's Tale , and Henry VIII is spun out by just such an aggregation of clauses . Macbeth's few lines ...
Seite 48
... play, both proportionately and absolutely: this is a telling statistic in light of the play's unusual brevity.9 Braunmuller also acutely analyzes the unusually dense patterns of alliteration, such as Macbeth's “But now I am cabin'd ...
... play, both proportionately and absolutely: this is a telling statistic in light of the play's unusual brevity.9 Braunmuller also acutely analyzes the unusually dense patterns of alliteration, such as Macbeth's “But now I am cabin'd ...
Seite 50
... playwright's acute ambivalence towards language at this moment in his career. It might be argued that such a mixed opinion informs virtually every one of his plays, his awareness of the potentialities and the limitations of language ...
... playwright's acute ambivalence towards language at this moment in his career. It might be argued that such a mixed opinion informs virtually every one of his plays, his awareness of the potentialities and the limitations of language ...
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.