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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... suggesting the essence of tragedy as we know it in Western culture. That is, the aesthetic enactment of death formalizes and defines life's beauty. Death is our “mother” in the sense that the moment we are born is the moment of greatest ...
... suggest that Shakespeare's romances go “beyond tragedy,” but I do not think the implications—structural and experiential—of this perception have been systematically worked out. Nevertheless, my approach is greatly indebted to the work ...
... suggesting that Macbeth, King Lear, and Antony and Cleopatra are something other than tragedy. Rather they are ... suggests the very straddling quality which I believe to be characteristic of some of the dramatic effects in King ...
... suggests that “nothing 'gainst Time's scythe can make defense / Save breed” (Sonnet 12). But the principal difference between the dominant use of time in the sonnets, as distinguished from the romances, is that in the former we are ...
... suggest that King Lear and Antony and Cleopatra intimate or dramatize versions of “worlds elsewhere,”2 and further, that these “worlds elsewhere” subsequently become the experiential realm beyond tragedy which is fully enacted in the ...
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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 |