Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 pages |
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Page 65
... Duke ] To you I give myself , for I am yours . [ to Orlando ] DUKE SENIOR If there be truth in sight , you are my daughter . ORLANDO If there be truth in sight , you are my Rosalind . PHEBE If sight and shape be true , Why then , my ...
... Duke ] To you I give myself , for I am yours . [ to Orlando ] DUKE SENIOR If there be truth in sight , you are my daughter . ORLANDO If there be truth in sight , you are my Rosalind . PHEBE If sight and shape be true , Why then , my ...
Page 119
... Duke practices a consistent morality while the moral values of the play , pliable according to the demands of the instant , are manipulated for dramatic immediacy alone ? Furthermore , since in mannerist art there frequently is a ...
... Duke practices a consistent morality while the moral values of the play , pliable according to the demands of the instant , are manipulated for dramatic immediacy alone ? Furthermore , since in mannerist art there frequently is a ...
Page 121
... Duke does require the appearance of Ragozine's head at the right moment to keep his plot intact , but otherwise handles his cast of characters ( Friar Peter , Isabella , Escalus , Angelo , etc ) in the appropriate fashion . Male- vole ...
... Duke does require the appearance of Ragozine's head at the right moment to keep his plot intact , but otherwise handles his cast of characters ( Friar Peter , Isabella , Escalus , Angelo , etc ) in the appropriate fashion . Male- vole ...
Contents
CHAPTER I | 19 |
ON UNPREDICTABILITY AND NONCLASSICAL UNITY | 97 |
CHAPTER IV | 118 |
Copyright | |
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Common terms and phrases
action actor allow Antony appears Architecture artificial artistic aspect audience awareness becomes calls character clearly comedy continual contrast conventional court death describes device disguise double drama dramatist dream Duke earlier effect Elizabethan English evidence expression fact false figure final fool further Giulio given gives hand Hermione hero illusion imagination instance interest Italian Italy Jacobean John Jones kind King later Leontes less Lives London look Lord Mannerism mannerist Marston masque means Measure merely metaphor mocks moral nature opening painter painting perspective picture play play's playwright plot present reality refers relation relationship remarkable Renaissance result reveals revenge role romance satiric says scene seems sense Shakespeare shift similar simultaneously speak speech Sprecher stage stand style suggests Tale theatre theatrical things thou tragedy truth turns University Press vision Winter's