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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... scene in V.iii which incorporates—without repudiating—the tragic loss of the previous generation. In The Tempest Shakespeare works yet another plot version of romance as beyond tragedy by constructing a play around the tragic events of ...
... scenes of Act IV and in the opening scenes of Act V. The famous Cliffs of Dover scene in Act IV.vi represents Edgar's attempt to show how a sense of the miraculous may grow out of the worst of misery. In this scene Edgar tries to ...
... scenes have absolute equivalents in Shakespeare's romances; indeed, in action and vocabulary they are characteristic of the conclusions to the romances. But the point, and it is a fatal point, is that these two scenes occur in Act IV ...
... scenes move back and forth between Rome and Alexandria. Antony states both views of time, because for the first three acts he straddles the two worlds; but Cleopatra's and Caesar's understanding of time never wavers. Adopting the ...
... scene, the one which best suggests how the Alexandrian view defies the Roman tragic view, is spoken by a Roman guard who, when he sees the dead Cleopatra, exclaims: “All's not well; Caesar's beguil'd” (V.ii.323). The guard does not ...
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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 |