Beyond Tragedy: Structure and Experience in Shakespeare's RomancesUniversity Press of Kentucky, 15 лип. 2014 р. - 160 стор. In this compact, yet comprehensive exploration of Shakespeare's romances, Robert W. Uphaus suggests that the romances bring us to a realm of human and dramatic experience that is "beyond tragedy." The inexorable movement of tragedy toward death and a final close is absorbed in romance by a further movement in which death can lead to renewed life, characters can experience a second time of joy and peace, and the audience's conventional expectations about reality and literature are challenged and enlarged. In the late tragedies of King Lear and Antony and Cleopatra, Uphaus finds the tragic structure augmented by elements that will later contribute to the form of the romances. Turning then to the romances themselves, he sees these plays as forming a profession in which Pericles is a brilliant outline of the conventions of romance and Cymbeline is romance taken to its dramatic limits, in fact to the point of parody. Through his fresh and provocative readings of the plays we experience anew the delight of Shakespearean romance and glimpse the world of renewal at its heart. |
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... Acts IV and V, through the use of pastoral comedy as well as the reversal of tragic time, modulate the genuine tragedy of Act I–III.ii into the realm of romance, culminating with the great statue scene in V.iii which incorporates ...
... act of selfassertion, that which is of value to individual life—in his case, immediate political power; whereas ... (III.ii.6-7) alludes to the difference between the expansive view of nontragic time, and the shorter, compressed view ...
... (III.i.1-10) In Act IV Macduff, hearing of the death of his wife and children, grieves over their loss: He has no children. All my pretty ones? Did you say all? Ohell-kite! All? What, all my pretty chickens, and their dam, At one fell ...
... acts because, for all intents and purposes, these usages show how the three ... III it looks as though this debased principle of disorder is about to ... (III.ii.37-38). The “pattern of all patience,” in Shakespeare's romances, signifies a ...
... Act III and Edgar's opening speech in Act IV, which intimates the regenerative powers of romance: Yet better thus, and known to be contemn'd, Than still contemn'd and flatter'd. To be worst, The lowest and most dejected thing of fortune ...
Зміст
1 | |
12 | |
Pericles and the Conventions of Romance | 34 |
Cymbeline and the Parody of Romance | 49 |
The Issues of The Winters Tale | 69 |
Prosperos Art and the Descent of Romance | 92 |
History Romance and Henry VIII | 118 |
NOTES | 141 |
INDEX | 149 |
Інші видання - Показати все
Beyond Tragedy: Structure & Experience in Shakespeare's Romances, Том 10 Robert W. Uphaus Обмежений попередній перегляд - 1981 |
Beyond Tragedy: Structure and Experience in Shakespeare's Romances Robert W. Uphaus Обмежений попередній перегляд - 2021 |
Beyond Tragedy: Structure & Experience in Shakespeare's Romances, Том 10 Robert W. Uphaus Перегляд фрагмента - 1981 |