Shakespeare's Late StyleCambridge University Press, 10 aug 2006 - 260 pagina's 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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Pagina 5
... analysis performed in this book differs from what some detractors of poetics deride as “New Criticism.” The kind of poetic analysis conducted fifty years ago would not normally have insisted on the relevance of the dramatic context ...
... analysis performed in this book differs from what some detractors of poetics deride as “New Criticism.” The kind of poetic analysis conducted fifty years ago would not normally have insisted on the relevance of the dramatic context ...
Pagina 6
... analysis of verbal properties, he acknowledges that his argument “does go some way toward justifying such an approach, suggesting that a close, 'readerly,' attention to the play's text is not a modern aberration.”7 Much of the analysis ...
... analysis of verbal properties, he acknowledges that his argument “does go some way toward justifying such an approach, suggesting that a close, 'readerly,' attention to the play's text is not a modern aberration.”7 Much of the analysis ...
Pagina 8
... analysis may be taken less as a hindrance than as a benefit. Having the presence of another poetic hand – Fletcher's much more than Wilkins's, of course – is most instructive in the attempt to establish Shakespeare's stylistic profile ...
... analysis may be taken less as a hindrance than as a benefit. Having the presence of another poetic hand – Fletcher's much more than Wilkins's, of course – is most instructive in the attempt to establish Shakespeare's stylistic profile ...
Pagina 9
... analyses ever written, and without pausing now to illustrate its accuracy, I will have occasion throughout the book to refer to ... analysis to its insufficiency.”15 Such rhetoric is difficult to escape, based as it is on perception of a ...
... analyses ever written, and without pausing now to illustrate its accuracy, I will have occasion throughout the book to refer to ... analysis to its insufficiency.”15 Such rhetoric is difficult to escape, based as it is on perception of a ...
Pagina 16
... analysis representing the viewpoints identified by Edwards and more besides. Some of these books include Shakespeare's Tragicomic Vision (1972), in which Joan Hartwig promotes “tragicomedy,” not “romance,” as the proper descriptive term ...
... analysis representing the viewpoints identified by Edwards and more besides. Some of these books include Shakespeare's Tragicomic Vision (1972), in which Joan Hartwig promotes “tragicomedy,” not “romance,” as the proper descriptive term ...
Inhoudsopgave
Gedeelte 1 | 66 |
Gedeelte 2 | 76 |
Gedeelte 3 | 77 |
Gedeelte 4 | 81 |
Gedeelte 5 | 96 |
Gedeelte 6 | 99 |
Gedeelte 7 | 106 |
Gedeelte 8 | 156 |
Gedeelte 10 | 195 |
Gedeelte 11 | 199 |
Gedeelte 12 | 206 |
Gedeelte 13 | 219 |
Gedeelte 14 | 226 |
Gedeelte 15 | 229 |
Gedeelte 16 | 233 |
Gedeelte 17 | 244 |
Gedeelte 9 | 181 |
Overige edities - Alles bekijken
Veelvoorkomende woorden en zinsdelen
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
Populaire passages
Pagina 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.
Pagina 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.
Pagina 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.
Pagina 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.