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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... Speak. Cordelia. Nothing my lord. Lear. Nothing? Cordelia. Nothing. Lear. Nothing will come of nothing, speak again. (I.i.85-90) The sentence “Nothing will come of nothing” may well be a cryptic definition of tragedy, in which case Lear ...
... speak “a third more opulent” to prove her worth. This same perversion of value, which allows nothings to become something and diminishes somethings to nothing, also appears in the Gloucester plot. Edmund, who is illegitimate and.
... speak nothing: “I will be the pattern of all patience, / I will say nothing” (III.ii.3738). The “pattern of all patience,” in Shakespeare's romances, signifies a kind of resignation to, and exhaustion of, tragedy which precedes the ...
... Speak what we feel, not what we ought to say” (324-25).6 What Edgar feels is despair; what he ought to say is “yes.” What he yields to, understandably, is not a sense of duty, but rather the “weight”—the destructive impact—of tragic ...
... speaks as loud As his own state and ours, 'tis to be chid—As we rate boys who, being mature in knowledge, Pawn their experience to their present pleasure, And so rebel to judgment. (I.iv.23-33) We get more than a glimpse of Roman uses ...
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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 |