In the Posture of a Whore: Changing Attitudes to 'bad' Women in Elizabethan and Jacobean Drama, Volume 2 |
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Page 261
... Romans Outside British ' history ' bad political women are rather less exceptional . Though , for the Elizabethans , the Roman world was a model of political life and rhetoric , Roman women are depicted as usually rather peripheral to ...
... Romans Outside British ' history ' bad political women are rather less exceptional . Though , for the Elizabethans , the Roman world was a model of political life and rhetoric , Roman women are depicted as usually rather peripheral to ...
Page 323
... Roman scenes , are enclosed structurally by Cleopatra's preoccupation with the messenger . Timeless Alexandria comprehends Roman virtue , folly , and vice ( as Cleopatra comprehends comic absurdity , majesty , " evil " and virtue ) ...
... Roman scenes , are enclosed structurally by Cleopatra's preoccupation with the messenger . Timeless Alexandria comprehends Roman virtue , folly , and vice ( as Cleopatra comprehends comic absurdity , majesty , " evil " and virtue ) ...
Page 327
... Roman stage directions ( V.2.52ff . ) . It is because Dolabella does not attempt to impose Roman rules that she chooses him as the audience of the apotheosis of Antony , a " dream " which comprehends Antony's relation to divinity as ...
... Roman stage directions ( V.2.52ff . ) . It is because Dolabella does not attempt to impose Roman rules that she chooses him as the audience of the apotheosis of Antony , a " dream " which comprehends Antony's relation to divinity as ...
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action Amazon ambiguity Antony appears associated attitude beauty becomes Bowers Caesar called Cambridge cause characters Christian claim Cleopatra comedy comic concerned condemned considered conventional created Cressida dangerous death defined depicted desire drama effect Elizabeth Elizabethan emphasises encouraged England English evil female final Fletcher George Helen helps Henry Heywood honour husband idea imagination important individual instance John kill kind King Lady Macbeth less lover lust Macbeth male marriage Mary merely Middleton moral murder nature Noble Oxford Paris partly pattern perhaps play political potentially presented provides punished Queen relation remains Renaissance represented revenge Robert role Roman rprt rule satiric scene seems seen sense sexual Shakespeare shows Sisters social society stage Studies suggests Thomas tradition Tragedy translated Troilus Troy ultimately virtuous Waller whore wife witchcraft witches woman women York