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 164
... Ferdinand , for instance , may be partly or largely feigned . Miranda indicates twice in 1.2 that his " ungentl [ e ] " conduct is " unwonted " ( 445 , 497-99 ) , confined only to this day , and Prospero himself later calls into ...
... Ferdinand , for instance , may be partly or largely feigned . Miranda indicates twice in 1.2 that his " ungentl [ e ] " conduct is " unwonted " ( 445 , 497-99 ) , confined only to this day , and Prospero himself later calls into ...
Seite 170
... Ferdinand's exposure to courtly society is already evident in the self - consciously artful - adult - language in which he addresses Miranda : " Most sure , the goddess / On whom these airs attend ! " ( 1.2.422-23 ) . Although his ...
... Ferdinand's exposure to courtly society is already evident in the self - consciously artful - adult - language in which he addresses Miranda : " Most sure , the goddess / On whom these airs attend ! " ( 1.2.422-23 ) . Although his ...
Seite 174
... Ferdinand's relative inexperience also obscures from his perception much of what Prospero , who has suffered the consequences of such oblivion , can learn from it . For Ferdinand , then , the masque threatens to dwindle into a vehicle ...
... Ferdinand's relative inexperience also obscures from his perception much of what Prospero , who has suffered the consequences of such oblivion , can learn from it . For Ferdinand , then , the masque threatens to dwindle into a vehicle ...
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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