Tragic Instance: The Sequence of Shakespeare's Tragedies"Tragic Instance follows Shakespeare's progress through his tragedies. The book accepts Kenneth Muir's prescription, "There is no such thing as Shakespearian Tragedy: there are only Shakespearian tragedies." Accordingly, each of the tragedies, from Titus Andronicus to Coriolanus, is studied in order of composition. Richard III and Richard II are included because each is described as "tragedy" on the title page. No larger unity is seen. The play is everything that is the case."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
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Page
... follows Shake- speare's progress through his tragedies . The book accepts Kenneth Muir's pre- scription , " There is no such thing as Shakespearian Tragedy : there are only Shakespearian tragedies . " Accordingly , each of the tragedies ...
... follows Shake- speare's progress through his tragedies . The book accepts Kenneth Muir's pre- scription , " There is no such thing as Shakespearian Tragedy : there are only Shakespearian tragedies . " Accordingly , each of the tragedies ...
Page 37
... follow ) are a straightforward appeal to the audience , basi- cally formulaic . Asides bond speaker and audience . Although asides are not necessarily comic ( as are Cordelia's act 1 interventions ) , they are potentially and usually ...
... follow ) are a straightforward appeal to the audience , basi- cally formulaic . Asides bond speaker and audience . Although asides are not necessarily comic ( as are Cordelia's act 1 interventions ) , they are potentially and usually ...
Page 38
... follow Jonathan Bate in his sugges- tion that Aaron , as a member of an " oppressed minority " ( what on earth is oppressed about Aaron's position in this play ? ) , is " uttering a cry for attention . " 12 Can one really see Aaron's ...
... follow Jonathan Bate in his sugges- tion that Aaron , as a member of an " oppressed minority " ( what on earth is oppressed about Aaron's position in this play ? ) , is " uttering a cry for attention . " 12 Can one really see Aaron's ...
Page 40
... follows rejoins the Revenge mainstream . Titus has already adjured Revenge / Tamora " I pray thee , do on them [ Queen and Moor ] some violent death ; / They have been violent to me and mine " ( 5.2.108-9 ) . In this spirit he repays ...
... follows rejoins the Revenge mainstream . Titus has already adjured Revenge / Tamora " I pray thee , do on them [ Queen and Moor ] some violent death ; / They have been violent to me and mine " ( 5.2.108-9 ) . In this spirit he repays ...
Page 49
... follows till the end of the act has a peculiarly heightened , histrionic intensity . This is largely because in earlier scenes Richard had usually been the sole " actor ; " he had assumed roles hypocritically and played them before ...
... follows till the end of the act has a peculiarly heightened , histrionic intensity . This is largely because in earlier scenes Richard had usually been the sole " actor ; " he had assumed roles hypocritically and played them before ...
Contents
29 | |
42 | |
Romeo and Juliet The Sonnet World of Verona | 61 |
The Tragedy of Richard II | 73 |
Communal Identity and the Rituals of Julius Caesar | 80 |
To say one An Essay on Hamlet | 92 |
Hamlet Nationhood and Identity | 106 |
Class as Motivation in Othello | 129 |
Macbeth The Sexual Underplot | 150 |
Timon of Athens | 164 |
Antony and Cleopatra RolePlayer Actress ActorManager | 172 |
Sexual Imagery in Coriolanus | 186 |
Class Politics in Coriolanus | 200 |
Notes | 212 |
Index | 226 |
Lears System | 137 |
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Common terms and phrases
action actor Albany Antony and Cleopatra Antony's appears audience Aufidius Bolingbroke Bradley Brutus Buckingham Cambridge Cassio Chiron Claudius comedy comes Cominius Cordelia Coriolanus Coriolanus's Dane Danish death Denmark dialogue drama Elizabethan England father final Fortinbras France gentleman Hamlet hath Henry hint Horatio Iago identity Julius Caesar killing King Lear Lady Macbeth Laertes later Lavinia Lear's London lord meaning Menenius ment Mercutio metaphor Methuen mind mode mother needs Octavius opening Othello passage patriarchy patricians Peter Brook play's plebeians Poland political Polonius Prince Queen quell question rhyme Richard Richard III ritual role Rome Romeo and Juliet Rosencrantz and Guildenstern Saturninus says scene sense sexual Shake Shakespeare Shakespearean Tragedy social society soliloquy sonnet speak speech stage direction suggest symbolic thee thou thought Timon of Athens tion Titus Andronicus tragic triumph University Press Volumnia Wittenberg word
Popular passages
Page 152 - Was the hope drunk Wherein you dress'd yourself? hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour 40 As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting ' I dare not ' wait upon ' I would,' Like the poor cat i
Page 150 - For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires: The eye wink at the hand; yet let that be Which the eye fears, when it is done, to see.
Page 95 - That for some vicious mole of nature in them, As, in their birth,— wherein they are not guilty, Since nature cannot choose his origin,— By the o'ergrowth of some complexion, Oft breaking down the pales and forts of reason...
Page 84 - Why should that name be sounded more than yours ? Write them together, yours is as fair a name ; Sound them, it doth become the mouth as well ; Weigh them, it is as heavy ; conjure with them, Brutus will start a spirit as soon as Caesar.
Page 54 - The lights burn blue. It is now dead midnight. Cold fearful drops stand on my trembling flesh. What do I fear? myself? There's none else by, Richard loves Richard; that is, I am I.
Page 195 - O mother, mother! What have you done? Behold, the heavens do ope, The gods look down, and this unnatural scene They laugh at. O my mother, mother! O! You have won a happy victory to Rome; But, for your son — believe it, O, believe it — Most dangerously you have with him prevailed, If not most mortal to him.
Page 48 - Slave, I have set my life upon a cast, And I will stand the hazard of the die : I think, there be six Richmonds in the field; Five have I slain to-day, instead of him : — A horse!
Page 133 - He takes her by the palm; ay, well said, whisper; with as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do; I will gyve thee in thine own courtship.
Page 102 - Why, man, they did make love to this employment; They are not near my conscience ; their defeat Does by their own insinuation grow : Tis dangerous, when the baser nature comes Between the pass and fell incensed points Of mighty opposites.