Coming of Age in ShakespeareMarjorie Garber examines the rites of passage and maturation patterns--"coming of age"--in Shakespeare's plays. Citing examples from virtually the entire Shakespeare canon, she pays particular attention to the way his characters grow and change at points of personal crisis. Among the crises Garber discusses are: separation from parent or sibling in preparation for sexual love and the choice of husband or wife; the use of names and nicknames as a sign of individual exploits or status; virginity, sexual initiation and the acceptance of sexual maturity, childbearing and parenthood; and, finally, attitudes toward death and dying. |
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Page 3
... and change , and to suggest the relevance of such patterns to our understanding of maturity . As a young man , Sir Thomas More designed a ' fyne paynted clothe ' for his father's house which combined elements of INTRODUCTION 3.
... and change , and to suggest the relevance of such patterns to our understanding of maturity . As a young man , Sir Thomas More designed a ' fyne paynted clothe ' for his father's house which combined elements of INTRODUCTION 3.
Page 4
Marjorie Garber. clothe ' for his father's house which combined elements of the Trionfi of Petrarch with a representation of the traditional ages of man . These ' nyne pageauntes ' , as More describes them - for they have since been lost ...
Marjorie Garber. clothe ' for his father's house which combined elements of the Trionfi of Petrarch with a representation of the traditional ages of man . These ' nyne pageauntes ' , as More describes them - for they have since been lost ...
Page 13
... father and mother , and cleave to his wife ( Gen. 2 : 6 ; Matt . 19 : 5 ; Mark 10 : 7 ; Eph . 5:31 ) . The happy euphony of ' leave ' and ' cleave ' in the King James version may serve as a metaphor for the rhythmic relationship of the ...
... father and mother , and cleave to his wife ( Gen. 2 : 6 ; Matt . 19 : 5 ; Mark 10 : 7 ; Eph . 5:31 ) . The happy euphony of ' leave ' and ' cleave ' in the King James version may serve as a metaphor for the rhythmic relationship of the ...
Page 19
... father , to speak of things ' which would be planted newly with the time ' ( v . viii . 65 ) . In all of these instances - and in many others - an underlying pattern of decay and rebirth in nature is clearly discernible , and ...
... father , to speak of things ' which would be planted newly with the time ' ( v . viii . 65 ) . In all of these instances - and in many others - an underlying pattern of decay and rebirth in nature is clearly discernible , and ...
Page 23
... after the opening scene , with Cordelia's acquiescence to her father's demand for a verbal expression of love . But her failure to offer such a pledge , her determination to love and be silent , does help INTRODUCTION 23.
... after the opening scene , with Cordelia's acquiescence to her father's demand for a verbal expression of love . But her failure to offer such a pledge , her determination to love and be silent , does help INTRODUCTION 23.
Contents
SEPARATION AND INDIVIDUATION | 30 |
PLAIN SPEAKING | 80 |
WOMENS RITES | 116 |
COMPARISON AND DISTINCTION | 174 |
Lenvoy | 242 |
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Common terms and phrases
acceptance action Antony appears audience bear becomes begins brother Brutus Caesar characters child choice Claudio close comes comparison contrast Coriolanus course daughter dead death described effect example face fact father figures final followed give glass Hamlet hand hear Henry Hero human husband identity individual initiation Juliet kind king Lady language live look lost lovers Macbeth marriage married maturity means Measure metaphor mind mirror mother nature never night noted observed offers once pattern perhaps plain play present Press Prince rhetoric Richard ring rites ritual role Romeo says scene seems seen sense separation sexual Shakespeare's similar social society soliloquy speak speech stage suggests symbolic tell thee thing thou tion tragedy truth turn twinned virginity wife woman women York young