Beyond Tragedy: Structure and Experience in Shakespeare's RomancesUniversity Press of Kentucky, 21.10.2021 - 160 Seiten In this compact, yet comprehensive exploration of Shakespeare's romances, Robert W. Uphaus suggests that the romances bring us to a realm of human and dramatic experience that is "beyond tragedy." The inexorable movement of tragedy toward death and a final close is absorbed in romance by a further movement in which death can lead to renewed life, characters can experience a second time of joy and peace, and the audience's conventional expectations about reality and literature are challenged and enlarged. In the late tragedies of King Lear and Antony and Cleopatra, Uphaus finds the tragic structure augmented by elements that will later contribute to the form of the romances. Turning then to the romances themselves, he sees these plays as forming a profession in which Pericles is a brilliant outline of the conventions of romance and Cymbeline is romance taken to its dramatic limits, in fact to the point of parody. Through his fresh and provocative readings of the plays we experience anew the delight of Shakespearean romance and glimpse the world of renewal at its heart. |
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... appears to arise.”3 To put it another way, in tragedy we live dying. What gives tragedy its peculiar power is that it represents not so much a chosen death, as a death which formally elicits and circumscribes the tremendous potential of ...
... appears that such plays as King Lear and Antony and Cleopatra straddle two worlds: the world of tragedy as we know it from Shakespeare's prior tragedies, and a second world, beyond tragedy, which is implied in Macbeth, intimated in Act ...
... appears favorable, is in fact tragic because it will lead to an absolute close; the long-run view, which looks unfavorable, is ultimately nontragic because it forecasts future recovery. Both these views further draw on an equivocal ...
... appears throughout the first three acts of the play, and it is based on an inversion of value such that prior nothings become something, and prior somethings are debased to nothing. For example, in the very first lines of the play we ...
Structure and Experience in Shakespeare's Romances Robert W. Uphaus. appears in the Gloucester plot. Edmund, who is illegitimate and hence nothing (he has no claim to his father's estate), becomes something by identifying Edgar, who is ...
Andere Ausgaben - Alle anzeigen
Beyond Tragedy: Structure & Experience in Shakespeare's Romances, Band 10 Robert W. Uphaus Eingeschränkte Leseprobe - 1981 |
Beyond Tragedy: Structure and Experience in Shakespeare's Romances Robert W. Uphaus Eingeschränkte Leseprobe - 2014 |