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. |
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Página 42
Russ McDonald. 1 CHAPTER. The. idioms. of. the. late. tragedies. 384847 Women are wordes, Men deedes. Thomas Howell, 15811 A point of origin for the late Shakespearean style does not immediately present itself. Analysis might reach as far ...
Russ McDonald. 1 CHAPTER. The. idioms. of. the. late. tragedies. 384847 Women are wordes, Men deedes. Thomas Howell, 15811 A point of origin for the late Shakespearean style does not immediately present itself. Analysis might reach as far ...
Página 43
... late plays as well) and evinces profound concerns about words, women, and the world of the theatre. Its desperate negativity has seemed to some critics to denote an authorial blockage relieved by the shift to romance: to Clifford Leech ...
... late plays as well) and evinces profound concerns about words, women, and the world of the theatre. Its desperate negativity has seemed to some critics to denote an authorial blockage relieved by the shift to romance: to Clifford Leech ...
Página 44
... plays in the canon , and even if the Folio text , the only surviving version , represents an abbreviated script prepared perhaps for court or touring performance , still the play is calculated to seem short , the effects of speed and ...
... plays in the canon , and even if the Folio text , the only surviving version , represents an abbreviated script prepared perhaps for court or touring performance , still the play is calculated to seem short , the effects of speed and ...
Página 47
... play . Without wanting to disallow such readings , one is compelled to point out that passage after passage in Cymbeline , The Winter's Tale , and Henry VIII is spun out by just such an aggregation of clauses ... late tragedies 47.
... play . Without wanting to disallow such readings , one is compelled to point out that passage after passage in Cymbeline , The Winter's Tale , and Henry VIII is spun out by just such an aggregation of clauses ... late tragedies 47.
Página 50
... plays, his awareness of the potentialities and the limitations of language being a commonplace. But Macbeth (like the tragedies that follow it) exposes with unusual clarity the dramatist's creative struggle with competing ideas about ...
... plays, his awareness of the potentialities and the limitations of language being a commonplace. But Macbeth (like the tragedies that follow it) exposes with unusual clarity the dramatist's creative struggle with competing ideas about ...
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 |
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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 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.