Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 pages |
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Page 88
... stage . Compared to choric figures , frame - plot characters have something of a more independent existence in ... stage audience can allow the real audience a double view of the stage action merely by its presence at the side of the ...
... stage . Compared to choric figures , frame - plot characters have something of a more independent existence in ... stage audience can allow the real audience a double view of the stage action merely by its presence at the side of the ...
Page 90
... stage audience , his meditation on the nature of illusion really only extends as far as the character himself . Since the impulse or motivation for Rafe's action comes from fiction ( 1.215ff ; 111.254ff ) , the exploration in the play ...
... stage audience , his meditation on the nature of illusion really only extends as far as the character himself . Since the impulse or motivation for Rafe's action comes from fiction ( 1.215ff ; 111.254ff ) , the exploration in the play ...
Page 175
... stage is still the stage of his- tory too , as it was in the history plays . But this is a stage on which mis- fortune spins a less public , more personal web of entrapment , and a stage on which the tragic implications of events can be ...
... stage is still the stage of his- tory too , as it was in the history plays . But this is a stage on which mis- fortune spins a less public , more personal web of entrapment , and a stage on which the tragic implications of events can be ...
Contents
CHAPTER I | 19 |
ON UNPREDICTABILITY AND NONCLASSICAL UNITY | 97 |
CHAPTER IV | 118 |
Copyright | |
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Common terms and phrases
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