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 102
... argue- and many have — that the physical conditions for Malvolio's imprison- ment signify his state of mind , for which he himself is ultimately respon- sible . He is , in other words , bound by his own intolerance and blinded by his ...
... argue- and many have — that the physical conditions for Malvolio's imprison- ment signify his state of mind , for which he himself is ultimately respon- sible . He is , in other words , bound by his own intolerance and blinded by his ...
Seite 177
... argue that anxiety in itself was seen by theologians of the time as a " necessary precondition of the reassurance of salvation , " in The Tempest the major- ity of anxiety that Prospero elicits is neither an end in itself nor a direct ...
... argue that anxiety in itself was seen by theologians of the time as a " necessary precondition of the reassurance of salvation , " in The Tempest the major- ity of anxiety that Prospero elicits is neither an end in itself nor a direct ...
Seite 223
... argument goes too far , although , as will become clear , I would agree with both writers that Caliban ... argue vigorously that " Caliban's suffering " naturally results in large part from suffering he has caused . 999 99 ...
... argument goes too far , although , as will become clear , I would agree with both writers that Caliban ... argue vigorously that " Caliban's suffering " naturally results in large part from suffering he has caused . 999 99 ...
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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