The Music of the Close: The Final Scenes of Shakespeare's TragediesUniversity Press of Kentucky, 21. 10. 2021 - 240 strán (strany) In this book, Walter Foreman studies the closing scenes of Shakespeare's tragedies, considering the tragic structure of the plays and the shapes the tragic characters give their lives by the way they encounter death. Foreman sees in the variety of tragic endings of the plays evidence that Shakespeare consciously experimented with tragic forms, for when he repeated he also changed, and changed more than superficially. Further, Foreman believes that these varieties and extensions of dramatic form were fundamentally a way of experiencing a various, often mysterious world. Extending and exploring the possibilities of tragic form, the playwright created dramatic worlds that mirror the possibilities of our own. Among the tragedies, Foreman finds three—Hamlet, King Lear, and Antony and Cleopatra—that are more complex than the rest. He devotes the three final chapters of his book to the closing scenes of these plays and his readings of them are richly rewarding, giving new insights into Hamlet's acceptance of death, Lear's isolation in a moral storm, and Cleopatra's triumphant staging of her own death. |
Vyhľadávanie v obsahu knihy
Výsledky 1 - 5 z 30.
... Roman numerals. I also observe, however, the convention by which a section of Hamlet III.i is “the nunnery scene” or a section of Antony and Cleopatra V.ii is “the Seleucus scene.” But in any case, a precise definition is of little ...
... Roman plays may be compared to the introduction of Falstaff in the English, the concerns of Antony and Cleopatra are much different from those of Julius Caesar, and the earlier Roman play does not explicitly look beyond its own action ...
... of the Roman state in contrast to Antony, who lives a life of hedonistic self-indulgence in Alexandria. It is interesting to consider Brutus and Cassius with this group, because one might say that they wished to be the.
... Roman state from the tyranny of Caesar and thus be responsible, in contrast to a self-willed Caesar and a hedonistic Antony. We can distinguish between them, too. Brutus has no revenge motive; Cassius has. Brutus is not acquisitive ...
... Roman Empire. (This is also the only one of the plays we've been considering where the love union is fruitful, an aspect of love in which Macbeth was so painfully frustrated. And yet this fruitfulness is incidental: Antony and Cleopatra ...
Iné vydania - Zobraziť všetky
The Music of the Close: The Final Scenes of Shakespeare's Tragedies Walter C. ForemanJr. Obmedzený náhľad - 2014 |
The Music of the Close: The Final Scenes of Shakespeare's Tragedies Walter C. Foreman Zobrazenie úryvkov - 1978 |