Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 pages |
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Page 3
... royal coffers , spending recklessly . London was transformed as swarms of Scottish favourites came to seek prefer- ment , while those gentlemen who had fallen out of favour with Elizabeth now looked eagerly for any possibility of ...
... royal coffers , spending recklessly . London was transformed as swarms of Scottish favourites came to seek prefer- ment , while those gentlemen who had fallen out of favour with Elizabeth now looked eagerly for any possibility of ...
Page 4
... royal patent , and between 1603 and 1616 he summoned them to give one hundred and seventy - seven performances at court - on average a little more than one performance per month for thirteen years ; 2 in 1613 he made Inigo Jones , one ...
... royal patent , and between 1603 and 1616 he summoned them to give one hundred and seventy - seven performances at court - on average a little more than one performance per month for thirteen years ; 2 in 1613 he made Inigo Jones , one ...
Page 195
... royal wish of being pre- sented as a pale mask , but the placing of the figure , the free brushwork and total assurance of composition are quite unlike anything else . It stands apart and is never repeated . The face was to be a basic ...
... royal wish of being pre- sented as a pale mask , but the placing of the figure , the free brushwork and total assurance of composition are quite unlike anything else . It stands apart and is never repeated . The face was to be a basic ...
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