Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 pages |
From inside the book
Results 1-3 of 26
Page 92
... Lord in his asides to us . Since we are presented with the two views simultaneously , we may be inclined immediately to opt for the Second Lord's interpretation of the action . Thus we may consider Cloten's behaviour in a similarly ...
... Lord in his asides to us . Since we are presented with the two views simultaneously , we may be inclined immediately to opt for the Second Lord's interpretation of the action . Thus we may consider Cloten's behaviour in a similarly ...
Page 93
... LORD [ aside ] If it be a sin to make a true election , she is damned . FIRST LORD Sir , as I told you always , her beauty and her brain go not together . She's a good sign , but I have seen small reflection of her wit . SECOND LORD ...
... LORD [ aside ] If it be a sin to make a true election , she is damned . FIRST LORD Sir , as I told you always , her beauty and her brain go not together . She's a good sign , but I have seen small reflection of her wit . SECOND LORD ...
Page 94
... Lord is addressed directly by Cloten , and thus the Lord's attention is suddenly jerked away from us and ' back into ' the play . As a result we have no single clear pres- entation of Cloten's character by Cloten himself , and no single ...
... Lord is addressed directly by Cloten , and thus the Lord's attention is suddenly jerked away from us and ' back into ' the play . As a result we have no single clear pres- entation of Cloten's character by Cloten himself , and no single ...
Contents
CHAPTER I | 19 |
ON UNPREDICTABILITY AND NONCLASSICAL UNITY | 97 |
CHAPTER IV | 118 |
Copyright | |
5 other sections not shown
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