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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... moment of greatest human suffering in potential, and the tragic pattern of life is the realization and exhaustion of that potential. Maud Bodkin describes this pattern quite precisely when she argues ONE: Beyond Tragedy.
... tragic protagonist, such as King Lear, dies into life (“we came crying hither”), even as he lives into death. The tragic conclusion of King Lear demonstrates that the meaning of the play and of human life is ultimately defined by the ...
... tragic pattern,” G. Wilson Knight, who associates the final plays with a “beyond tragedy recognition,” and Howard Felperin, who more recently has argued that “Shakespeare's final romances subsume tragedy in the process of transcending ...
... tragic protagonists are irreversible; we see in tragedy Robert Heilman has remarked, “the inevitability of the avoidable.” Shakespeare's tragic protagonists are trapped within time, and thus, to use Northrop Frye's phrase, they become ...
... tragic sense of time. Instead of treating time as leading always and only toward death, or as irreversible, the romances continually, and often abruptly, depend on versions of reversible time, where the ideas of cause and effect ...
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 |