By Richard Dutton, Jean E. Howard
This four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely accomplished photo of present Shakespeare feedback.
* Brings jointly new essays from a mix of more youthful and extra verified students from worldwide - Australia, Canada, France, New Zealand, the uk, and the U.S..
* Examines each one of Shakespeare’s performs and significant poems, utilizing the entire assets of up to date feedback, from functionality experiences to feminist, historicist, and textual research.
* Volumes are equipped relating to regular different types: specifically the histories, the tragedies, the romantic comedies, and the overdue performs, challenge performs and poems.
* each one quantity comprises person essays on all texts within the proper classification, in addition to extra basic essays taking a look at serious concerns and methods extra generally correct to the style.
* deals a provocative roadmap to Shakespeare experiences on the dawning of the twenty-first century.
This spouse to Shakespeare’s tragedies includes unique essays on each tragedy from Titus Andronicus to Coriolanus in addition to 13 extra essays on such issues as Shakespeare’s Roman tragedies, Shakespeare’s tragedies on movie, Shakespeare’s tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.
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Extra info for A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture)
1972). Shakespeare and the Energies of Drama. Princeton, NJ: Princeton University Press. Jaspers, K. (1952). Tragedy is Not Enough, trans. K. W. Deutsch. Boston, MA: Beacon Press. Johnson, S. (1989). Samuel Johnson on Shakespeare, ed. H. R. Woudhuysen. Harmondsworth: Penguin Books. Kastan, D. S. (1982). Shakespeare and the Shapes of Time. London: Macmillan. —— (1999). Shakespeare After Theory. New York: Routledge. Kelly, H. A. (1993). Ideas and Forms of Tragedy from Aristotle to the Middle Ages.
Catherine Belsey (1985) suggests, however, that the soliloquy as a device is not so much the effect of an individual mind as constructed out of disparate voices played across the human subject, and that these voices contain traces of an earlier morality drama, as in the following lines from Kyd: No, no, Hieronimo, thou must enjoin Thine eyes to observation, and thy tongue To milder speeches than thy spirit affords. 39–41) The body here is in fragments so that the speaker “is at once unified and discontinuous” (Belsey 1985: 46), present on stage as a human agent but divided severally in the speech itself.
IV If we take Kyd and Marlowe together we can construct a diachronic model of how tragedy changed from, say, Gorboduc, a 1560s play about the tragic consequences of dividing the state, to King Lear, another play on the same theme. It is an attractive, evolutionary model, even though it omits complicating factors such as Shakespeare’s early tragedies of Titus Andronicus, Romeo and Juliet, and Julius Caesar. As Lawrence Danson (2000: 116) suggests, these can be placed in a number of different categories, so that we might reasonably speak of a number of different developments or patterns of tragedy.
A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture) by Richard Dutton, Jean E. Howard