Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 pages |
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Page 29
... calls ' the silver - tongued language of articulate , if unnatural , beauty'31 may have been more clearly realized in Shakespeare's Romances , produced some years after Marston's more garish beginning in the Antonio plays . But the art ...
... calls ' the silver - tongued language of articulate , if unnatural , beauty'31 may have been more clearly realized in Shakespeare's Romances , produced some years after Marston's more garish beginning in the Antonio plays . But the art ...
Page 67
... calls his clownish servant ' A bitter fool ! ' ( line 126 ) , his jester returns the derisive comment in a very ... call me fool , boy ? FOOL All thy other titles thou hast given away ; that thou wast born with . KENT This is not ...
... calls his clownish servant ' A bitter fool ! ' ( line 126 ) , his jester returns the derisive comment in a very ... call me fool , boy ? FOOL All thy other titles thou hast given away ; that thou wast born with . KENT This is not ...
Page 162
... calls rather for an overall ensemble effect . In the non - Shakespearean drama of the first Jacobean decade , the ... calls down the thunder at IV.iv.199 , upon which call the thunder appropriately responds at line 200. In the final ...
... calls rather for an overall ensemble effect . In the non - Shakespearean drama of the first Jacobean decade , the ... calls down the thunder at IV.iv.199 , upon which call the thunder appropriately responds at line 200. In the final ...
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