Shakespeare's Early TragediesRoutledge, 2013 M10 11 - 232 pages First published in 1968. Shakespeare's Early Tragedies contains studies of six plays: Titus Andronicus, Richard III, Romeo and Juliet, Richard II, Julius Caesar and Hamlet. The emphasis is on the variety of the plays, and the themes, a variety which has been too often obscured by the belief in a single 'tragic experience'. The kind of experience the plays create and their quality as dramatic works for the stage are also examined. These essays develop an understanding of Shakespeare's use of the stage picture in relation to the emblematic imagery of Elizabethan poetry. |
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Page 2
... stage with far greater respect; yet in Sbakeqfiearean Tragedy he speaks constantly of the 'book' and addresses the 'reader'. I do not claim any special theatrical insights in the essays that follow, and they are of course the result of ...
... stage with far greater respect; yet in Sbakeqfiearean Tragedy he speaks constantly of the 'book' and addresses the 'reader'. I do not claim any special theatrical insights in the essays that follow, and they are of course the result of ...
Page 3
... stage of his career). So my first, and strongest, aim in this book is to look at these plays for what they are, in themselves, and not for what we might with hindsight predict from them for the later plays which already have their due ...
... stage of his career). So my first, and strongest, aim in this book is to look at these plays for what they are, in themselves, and not for what we might with hindsight predict from them for the later plays which already have their due ...
Page 5
... stage: with the popular tradition leading back through Cambises to the moralities, or the more recent sophistication of Lyly, Greene, Peele, Kyd, and, especially of course, Marlowe; nor simply adding to that his own knowledge (as it ...
... stage: with the popular tradition leading back through Cambises to the moralities, or the more recent sophistication of Lyly, Greene, Peele, Kyd, and, especially of course, Marlowe; nor simply adding to that his own knowledge (as it ...
Page 6
... stage of forms evolved specifically for non-dramatic verse may well sound unpromising. But it is already clear in The Rape of Latreee that for Shakespeare the Spenserian mode has powerfully dramatic possibilities, and Tita: Andronitm ...
... stage of forms evolved specifically for non-dramatic verse may well sound unpromising. But it is already clear in The Rape of Latreee that for Shakespeare the Spenserian mode has powerfully dramatic possibilities, and Tita: Andronitm ...
Page 7
... stage: thus Richard II reversing the sacramental order of coronation while Bolingbroke sits silent on the throne is patently an emblem of the blasphemy of usurpation, supported in the verse by references to Pilate, Judas, and the ...
... stage: thus Richard II reversing the sacramental order of coronation while Bolingbroke sits silent on the throne is patently an emblem of the blasphemy of usurpation, supported in the verse by references to Pilate, Judas, and the ...
Contents
1 | |
13 | |
Richard III 1593? | 48 |
Romeo and Juliet 1595 | 80 |
Richard II 1595 | 107 |
Julius Caesar 1599 | 138 |
Hamlet 16001 | 163 |
Selective Bibliography | 207 |
Index | 211 |
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Common terms and phrases
Aaron action Antony audience beast becomes blank verse blood Bolingbroke Brutus Caesar Cassius character choric Clarence’s Claudius climax comedy comic confidence conflict conscience contrast course critical curse death divine doth Dover Wilson dramatic dream earlier plays echoes Edward’s emblem emblematic emerges established fact Faerie Queene figure final finally find fire first fit flesh formal fulfil ghost Hamlet hath heaven and hell heroic Horatio human irony julius Caesar kind king Laertes later Lavinia Lucius magnificent Marcus Margaret Mercutio murder night nobility noble obvious Ophelia pattern play’s poetic poetry political Polonius prose Queen Queen Mab question reflection revenge rhetorical Richard Richard II ritual Roman Rome Romeo and Juliet Saturninus scene seems sense sequence Shakespeare significance simple soliloquy specific speech stage stress structure suggested T. S. Eliot Tamora thee theme thou tion Titer Titus Titus Andronicus tone tragedy tragic utterance verse words