Beyond Tragedy: Structure and Experience in Shakespeare's RomancesUniversity Press of Kentucky, 15.07.2014 - 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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... play's tragic action is defined against the witches' equivocal prophecy, and the diverse fates of the characters play on diverse understandings of time. That is, the short run of Macbeth's death, with which the play is primarily ...
... play but a working definition of tragedy in action. Having tried to possess “all” by destroying “all,” he defines his own action, as well as the action of tragedy, as “nothing.” The tragic pathos of Macbeth's meditation on “to-morrow ...
... play. By saying nothing Cordelia is af. firming something of great value which could impede tragedy, and which intimates the language of romance. She tells Lear, “I love your majesty / According to my bond,” and she subsequently defines ...
... play, from which all further nothings devolve. I have placed such a strong emphasis on the repeated use of “nothing” in the first three acts because, for all intents and purposes, these usages show how the three acts construct a tragedy ...
... play beyond tragedy. Though imprisoned, Lear argues that he and Cordelia are free of a tragic world and thereby endowed with a kind of divine awareness. They are, he declares, above it all, the inhabitants of a realm beyond tragedy: We ...
Inhalt
1 | |
12 | |
Pericles and the Conventions of Romance | 34 |
Cymbeline and the Parody of Romance | 49 |
The Issues of The Winters Tale | 69 |
Prosperos Art and the Descent of Romance | 92 |
History Romance and Henry VIII | 118 |
NOTES | 141 |
INDEX | 149 |
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 - 2021 |