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 110
... Viola feels but is too self - protective to confess : that not to remain in disguise , whatever knot it creates , is ... Viola / Cesario reiterates in the next scene , where she laments that women , like roses , “ die , even when ...
... Viola feels but is too self - protective to confess : that not to remain in disguise , whatever knot it creates , is ... Viola / Cesario reiterates in the next scene , where she laments that women , like roses , “ die , even when ...
Seite 111
... Viola's pluck . Thus , when she finally cues Viola / Cesario to speak from the heart about how she would woo , Olivia immediately succumbs to the " willow cabin " speech ( 268-76 ) , and the audience is introduced to the authentic ...
... Viola's pluck . Thus , when she finally cues Viola / Cesario to speak from the heart about how she would woo , Olivia immediately succumbs to the " willow cabin " speech ( 268-76 ) , and the audience is introduced to the authentic ...
Seite 113
... Viola . Thus , Christian love can inform romantic love , enriching romantic comedy with a more serious dimension that , in Renaissance tradition , it often lacked . Fittingly , as if induced by Viola / Cesario's self - sacrifice , the ...
... Viola . Thus , Christian love can inform romantic love , enriching romantic comedy with a more serious dimension that , in Renaissance tradition , it often lacked . Fittingly , as if induced by Viola / Cesario's self - sacrifice , the ...
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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