Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their PlaysUniversity of Delaware Press, 1997 - 250 Seiten Why do characters named Antonio proliferate on the English Renaissance stage? Why are they so often paired with other characters named Sebastian? And more significantly, why are they repeatedly characterized by Shakespeare and his contemporaries as fools for love? Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio. Such characters ultimately derive from the rich medieval iconography and hagiography of Saint Anthony of Egypt. How this knowledge reinforms our late-twentieth-century understanding of the four plays in question is addressed in separate chapters that range widely across each work: The Merchant of Venice, Twelfth Night, Antony and Cleopatra, and The Tempest. |
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Seite 58
... Christian hypocrisy , the central one in Shakespeare's plot ( 1.3.145 ) . Having finally consented to dine with the Christians in the spirit of " hate " ( 2.5.14 ) , Shylock discovers too late just how much they have " flatter [ ed ] ...
... Christian hypocrisy , the central one in Shakespeare's plot ( 1.3.145 ) . Having finally consented to dine with the Christians in the spirit of " hate " ( 2.5.14 ) , Shylock discovers too late just how much they have " flatter [ ed ] ...
Seite 123
... Christian tradition : the first , in The Merchant of Venice , falls short of the Christian charity he professes , and the second , in Twelfth Night , practices an authentic Christian charity that , as the play ends , seems indefinitely ...
... Christian tradition : the first , in The Merchant of Venice , falls short of the Christian charity he professes , and the second , in Twelfth Night , practices an authentic Christian charity that , as the play ends , seems indefinitely ...
Seite 215
... Christian folly , see chap . 1. Although Christopher Wortham argues that , since Antony is an antitype of Hercules and Hercules is a type for Christ , Antony is , by extension , a virtual antitype of Christ , Wortham has not considered ...
... Christian folly , see chap . 1. Although Christopher Wortham argues that , since Antony is an antitype of Hercules and Hercules is a type for Christ , Antony is , by extension , a virtual antitype of Christ , Wortham has not considered ...
Inhalt
Acknowledgments | 9 |
Characters Named Antonio | 20 |
Antonio and Alienation in | 51 |
Urheberrecht | |
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Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their Plays Cynthia Lewis Eingeschränkte Leseprobe - 1997 |
Häufige Begriffe und Wortgruppen
alien ambiguity Anthony of Egypt Antonio and Sebastian Antony and Cleopatra Antony's appear argue Ariel artists audience audience's Bassanio behavior Caesar Caliban characterization characters charity choice Christ Christian context Corballis critics demons disguise Dolabella duke earlier earthly Elizabethan emblem English Renaissance Enobarbus Enobarbus's Epiphany Essays example feelings Ferdinand Feste Feste's final foolish Gratiano Grünewald's hagiography human iconography ideal identity instance irony Isenheim Altarpiece judgment language Malvolio Mark Antony meaning Medieval Merchant of Venice mercy Miranda Montaigne moral More's motives named Antonio nature Olivia Orsino paradoxically play's Pompey Portia pride problem Prospero question Renaissance Drama Renaissance stage Antonios revenge Saint Anthony Saint Play Saint Sebastian saintly seems sense Shakespeare Quarterly Shylock sixteenth century spiritual suggests Tempest temptation tempted theatrical thou tion trial scene truth Twelfth Night University Press Viola Viola/Cesario Virgin virtue William Shakespeare wisdom wise folly wise fool words worldly York
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