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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... play intimations of values which outstrip time. In other words, there are suggestions of a realm of transcendent value which time cannot touch.” Characters thus do not so much control as respond to experiences larger than their own ...
... play around the tragic events of twelve years past, so that the whole of The Tempest is at once a reenactment and a recycling of a past tragedy that leads to an experience of romance, as transformed tragedy, in the present. For Prospero ...
... the effect of The Winter's Tale, “It is, finally, the spectator-critic who is excluded from the center of the play, the imaginative participant who enters into it.”17 This does not mean that my approach to the romances is fated.
... play displays the protagonist in a “boundary situation,” or as Richard Sewall says, “man at the limits of his sovereignty.” Second, this tragic action gives rise to a tension between what Maud Bodkin calls the vying tendencies of “self ...
... play which, respectively, show Macbeth's seeming possession of “all,” his need to destroy “all,” and the ultimate effect of his actions which, in diverse ways, amounts to “nothing.” At the beginning of Act III Banquo declares: Thou hast ...
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 |