Shakespeare's Late StyleCambridge University Press, 2006 M08 10 - 260 páginas When Shakespeare gave up tragedy around 1607 and turned to the new form we call romance or tragicomedy, he created a distinctive poetic idiom that often bewildered audiences and readers. The plays of this period, Pericles, Cymbeline, The Winter's Tale, The Tempest, as well as Shakespeare's part in the collaborations with John Fletcher (Henry VIII and The Two Noble Kinsmen), exhibit a challenging verse style - verbally condensed, metrically and syntactically sophisticated, both conversational and highly wrought. In Shakespeare's Late Style, McDonald anatomizes the components of this late style, illustrating in a series of topically organized chapters the contribution of such features as ellipsis, grammatical suspension, and various forms of repetition. Resisting the sentimentality that frequently attends discussion of an artist's 'late' period, Shakespeare's Late Style shows how the poetry of the last plays reveals their creator's ambivalent attitude towards art, language, men and women, the theatre, and his own professional career. |
Dentro del libro
Resultados 1-5 de 85
Página 42
... Shakespeare's renewed sense of values and refreshed artistic purpose. A concomitant goal is to demonstrate that this exchange of modes may be ascribed, at least in part, to Shakespeare's evolving and contradictory opinions about ...
... Shakespeare's renewed sense of values and refreshed artistic purpose. A concomitant goal is to demonstrate that this exchange of modes may be ascribed, at least in part, to Shakespeare's evolving and contradictory opinions about ...
Página 43
... Shakespeare's tragic writing and, because it reached an impasse, to lead into his new development in the last plays.”2 But debates about its date, its collaborative origins, and its uncertain state of completion conveniently justify ...
... Shakespeare's tragic writing and, because it reached an impasse, to lead into his new development in the last plays.”2 But debates about its date, its collaborative origins, and its uncertain state of completion conveniently justify ...
Página 44
... Shakespeare associates ambiguous speech especially with predatory females , in this case with demonic women . An affiliation between women and wicked words is suggested by the distinctive sound of the " witch language " that opens the ...
... Shakespeare associates ambiguous speech especially with predatory females , in this case with demonic women . An affiliation between women and wicked words is suggested by the distinctive sound of the " witch language " that opens the ...
Página 48
... Shakespeare Studies 16 (1983), 153–73; Barbara Everett, Young Hamlet: Essays on Shakespeare's Tragedies (Oxford: Clarendon Press, 1989), and George Walton Williams, “Time for Such a Word: Verbal Echoing in Macbeth,” Shakespeare Survey ...
... Shakespeare Studies 16 (1983), 153–73; Barbara Everett, Young Hamlet: Essays on Shakespeare's Tragedies (Oxford: Clarendon Press, 1989), and George Walton Williams, “Time for Such a Word: Verbal Echoing in Macbeth,” Shakespeare Survey ...
Página 50
... Shakespeare's augmentation of the verbal patterns at which I have glanced in Macbeth will bring about a stylistic transformation, a meta- morphosis that accompanies his exchange of tragedy for romance. But these changes in style are ...
... Shakespeare's augmentation of the verbal patterns at which I have glanced in Macbeth will bring about a stylistic transformation, a meta- morphosis that accompanies his exchange of tragedy for romance. But these changes in style are ...
Contenido
Sección 1 | 66 |
Sección 2 | 76 |
Sección 3 | 77 |
Sección 4 | 81 |
Sección 5 | 96 |
Sección 6 | 99 |
Sección 7 | 106 |
Sección 8 | 156 |
Sección 10 | 195 |
Sección 11 | 199 |
Sección 12 | 206 |
Sección 13 | 219 |
Sección 14 | 226 |
Sección 15 | 229 |
Sección 16 | 233 |
Sección 17 | 244 |
Sección 9 | 181 |
Otras ediciones - Ver todas
Términos y frases comunes
alliteration Antony and Cleopatra appears Arcadia artifice assonance audience aural Cambridge chapter characters clauses Comedy complex consonants Coriolanus creates Cymbeline delight dramatic echoes effect Elizabethan ellipsis elliptical English episodes especially example female feminine figure gender grammatical Henry VIII illusion Imogen implies irony Jacobean Kenneth Burke kind King Lear language last plays late plays late style late verse Leontes listener literary London Macbeth Marina masculine meaning metaphor metrical mode narrative Noble Kinsmen omission Oxford passage Patricia Parker patterns Paulina Perdita Pericles perspective phrases playwright pleasure plot poet poetic poetry Princeton Prospero's Puttenham Queen reader reiterative relation repeated repetition reunion rhetorical rhythm rhythmic romance fiction scene seems self-conscious semantic sense sentence sexual Shakespeare Shakespearean romance Simon Palfrey sounds speak speech Stephen Booth stories structure stylistic syllables syntactical syntax Tempest theatre theatrical thee thou tion tragedies University Press verb verbal vowels Winter's Tale women words
Pasajes populares
Página 253 - SYSTEMATIC defence of the theory here maintained, it would have been my duty to develope the various causes upon which the pleasure received from metrical language depends. Among the chief of these causes is to be reckoned a principle which must be well known to those who have made any of the Arts the object of accurate reflection ; namely, the pleasure which the mind derives from the perception of similitude in dissimilitude.
Página 49 - Sleep no more! Macbeth does murder sleep,' the innocent sleep, Sleep that knits up the ravelled sleave* of care, The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast,— Lady M, What do you mean ? Macb. Still it cried' Sleep no more !' to all the house ' Glamis hath murdered sleep, and therefore Cawdor Shall sleep no more; Macbeth shall sleep no more.
Página 180 - Tis her breathing that Perfumes the chamber thus. The flame o' th' taper Bows toward her and would under-peep her lids To see th' enclosed lights, now canopied Under these windows white and azure, lac'd With blue of heaven's own tinct.
Página 200 - t in a woman's key, like such a woman As any of us three ; weep ere you fail; Lend us a knee ; But touch the ground for us no longer time Than a dove's motion, when the head 's pluck'd off; Tell him, if he i' the blood-siz'd field lay swoln, Showing the sun his teeth, grinning at the moon, What you would do ! Hip.