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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... act of possession defines what Macbeth values most about life, but draws him irreversibly toward an absolute close. This irreversible and equivocal logic of tragedy may be seen if we look at three ... actions which, in diverse ways, amounts ...
... actions serve to define the “nothing” which is tragic necessity. In a manner reminiscent of Macbeth, King Lear is also a play that ultimately signifies the nothing which is tragedy. Throughout the first three acts, the tragic action of ...
... three acts of the play, and it is based on an inversion of value such that prior nothings become something, and ... act of arbitrary division, in other words, denies the hierarchical principle of value which distinguishes between the ...
... three acts of King Lear, as well as illumines the meaning of tragedy, when Lear and the Fool try to determine the ... actions have destroyed his legitimacy and debased him, like Cordelia, Edgar, and Kent, to a kind of bastard: “Thou hast ...
... three acts because, for all intents and purposes, these usages show how the three acts construct a tragedy which, to borrow from Macbeth, truly signifies nothing. It is as if the first three acts are a massive footnote to, and ...
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 |