Shakespeare's Hyperontology: Antony and CleopatraUtilizing a number of poststructuralist devices, H. W. Fawkner employs an ontodramatic line of approach in order to suggest that a single hidden pattern of hyperontological suggestion organizes Shakespeare's entire imaginative outlook in Antony and Cleopatra. |
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Page 159
... Caesar . Cleopatra . [ handing a paper . ] This is the brief : of money , plate and jewels , I am possess'd of , ' tis exactly valued , Seleucus . Not petty things admitted . Where's Seleucus ? Here , madam . Enter Seleucus . Cleopatra ...
... Caesar . Cleopatra . [ handing a paper . ] This is the brief : of money , plate and jewels , I am possess'd of , ' tis exactly valued , Seleucus . Not petty things admitted . Where's Seleucus ? Here , madam . Enter Seleucus . Cleopatra ...
Page 160
... Caesar may feel more at home in Rome than in Alexandria or Germany ; but the point is that Caesar , insofar as he is Caesar , is not a private person . He is , on the contrary , the absolute dispersion and uni- form radiation of his own ...
... Caesar may feel more at home in Rome than in Alexandria or Germany ; but the point is that Caesar , insofar as he is Caesar , is not a private person . He is , on the contrary , the absolute dispersion and uni- form radiation of his own ...
Page 167
... Caesar's Revenge . First was I wounded by her percing eye : Next prisoner tane by her captiuing speech , And now ... Caesar succumbs to Cleopatra / Venus in Caesar's Revenge : Lord . See how this faire Egiptian Sorceres , Enchantes these ...
... Caesar's Revenge . First was I wounded by her percing eye : Next prisoner tane by her captiuing speech , And now ... Caesar succumbs to Cleopatra / Venus in Caesar's Revenge : Lord . See how this faire Egiptian Sorceres , Enchantes these ...
Contents
Acknowledgments | 9 |
Presence and Oblivion | 23 |
To Follow Faster | 46 |
Copyright | |
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absence absolute action actually affirms already amounts Antony and Cleopatra Antony's approach arriving become begin bring Caesar calls comes complete conception course created critical death difference difficulty discourse discussion dramatic dying economy Egypt emphasized Enobarbus entire erotic event excess fact fall feeling final force give hand heroic honor human hyperontological Ibid identifies identity imagination important infinite interesting kind language leaving linguistic logic London longer look loss lovers master means military monument moral move movement nature negativity never notion object observed once ontodramatic opposite passage performance perhaps play pleasure position possibility precisely presence produced pure question reality remains restricted Roman Rome scene seems sense Shakespeare simply space spending spirit stage strange suggests takes thee things thou thought tion trace Tragedy tragic turn unit University Press Venus York