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 30
... virtue signifies a virtue , the constancy of a virtuous disposition . But in his abstract conception of his wife Fulvia , Cleopatra senses that Antony's new life - style is simply a mechanical inversion of constancy . The Roman formula ...
... virtue signifies a virtue , the constancy of a virtuous disposition . But in his abstract conception of his wife Fulvia , Cleopatra senses that Antony's new life - style is simply a mechanical inversion of constancy . The Roman formula ...
Page 76
... virtue , rather makes choice of loss , Than gain which darkens him . I could do more to do Antonius good , But ' twould offend him . And in his offence Should my performance perish . ( 3.1.11-27 ) Here , I have emphasized words ...
... virtue , rather makes choice of loss , Than gain which darkens him . I could do more to do Antonius good , But ' twould offend him . And in his offence Should my performance perish . ( 3.1.11-27 ) Here , I have emphasized words ...
Page 83
... virtue of excess itself . It is difficult to think of him in separation from excess . Excess does not add itself to his being , but constitutes it originally . It is this difference between the heroic greatness of Antony and the heroic ...
... virtue of excess itself . It is difficult to think of him in separation from excess . Excess does not add itself to his being , but constitutes it originally . It is this difference between the heroic greatness of Antony and the heroic ...
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