In the Posture of a Whore: Changing Attitudes to 'bad' Women in Elizabethan and Jacobean Drama, Volume 2 |
From inside the book
Results 1-3 of 82
Page 310
... attitude to 68 Antony's wasting the " lamps of night in revel " ( 1.4.5 ) . Cleopatra's own sense of humour differentiates her from other Renaissance Cleopatras ; her elusive change fulness ( and " flatteries " —the " pleasing illusions ...
... attitude to 68 Antony's wasting the " lamps of night in revel " ( 1.4.5 ) . Cleopatra's own sense of humour differentiates her from other Renaissance Cleopatras ; her elusive change fulness ( and " flatteries " —the " pleasing illusions ...
Page 330
... attitude which had been taking shape at least as long as the theatres had been established as Quoted in W. Robertson - Davies , Shakespeare's Boy Actors ( 1939 ) , p . 15 . commercial enterprises . It was an attitude rooted in the 330 ...
... attitude which had been taking shape at least as long as the theatres had been established as Quoted in W. Robertson - Davies , Shakespeare's Boy Actors ( 1939 ) , p . 15 . commercial enterprises . It was an attitude rooted in the 330 ...
Page 344
... attitude in drama ( see pp . 53f . above ) , and it encouraged , whether or not that was an original intention , something of a re - evaluation of orthodox attitudes to " bad " women . Beyond this , there is a broad category of satire ...
... attitude in drama ( see pp . 53f . above ) , and it encouraged , whether or not that was an original intention , something of a re - evaluation of orthodox attitudes to " bad " women . Beyond this , there is a broad category of satire ...
Common terms and phrases
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