In the Posture of a Whore: Changing Attitudes to 'bad' Women in Elizabethan and Jacobean Drama, Volume 2 |
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Page 243
... never really treated as an autonomous 12 political figure . In Studley's translation of Seneca's Agamemnon ( 1566 ) she appears torn between fear of Agamemnon and love of Aegisthus , who encourages her hatred of Agamemnon and on whom ...
... never really treated as an autonomous 12 political figure . In Studley's translation of Seneca's Agamemnon ( 1566 ) she appears torn between fear of Agamemnon and love of Aegisthus , who encourages her hatred of Agamemnon and on whom ...
Page 248
... never quite reduced to one static symbol . 20 As an activator of political discord , she is partly identified by association with the image of Helen : Suffolk first went to get her " as did the youthful Paris once to Greece " ( Pt . I ...
... never quite reduced to one static symbol . 20 As an activator of political discord , she is partly identified by association with the image of Helen : Suffolk first went to get her " as did the youthful Paris once to Greece " ( Pt . I ...
Page 305
... never treated as political matters . Caesar shakes off the " linkes " of that " faire Circes wounding look " ( 1187 ) but " base femall Antony " does not come to his senses until his Good Genius rebukes him , foretelling that Cleopatra ...
... never treated as political matters . Caesar shakes off the " linkes " of that " faire Circes wounding look " ( 1187 ) but " base femall Antony " does not come to his senses until his Good Genius rebukes him , foretelling that Cleopatra ...
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