Shakespeare: Text, Subtext, and ContextRonald L. Dotterer Seventeen critics are represented in this collection of essays designed to illustrate the vitality and range of traditional and new approaches to Shakespeare studies. |
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Page 29
... idea of the poet , but of course Shakespeare lived before the Romantic Age . The will and the other documents fail to convey the pain he must have experienced . So we can only guess what he felt when his only son Hamnet was buried in ...
... idea of the poet , but of course Shakespeare lived before the Romantic Age . The will and the other documents fail to convey the pain he must have experienced . So we can only guess what he felt when his only son Hamnet was buried in ...
Page 31
... ideas , thoughts— that help make a character what he or she is , or make him or her behave in certain ways . This is why subtext is important . It is directly related both to the script the actor is performing and to the actor's inner ...
... ideas , thoughts— that help make a character what he or she is , or make him or her behave in certain ways . This is why subtext is important . It is directly related both to the script the actor is performing and to the actor's inner ...
Page 32
... idea of sub- text , the undercurrent of thought and feeling with which the text is charged , was familiar to actors before him . In Shakespeare's Plays in Performance John Russell Brown cites Macready's definition of the art of acting ...
... idea of sub- text , the undercurrent of thought and feeling with which the text is charged , was familiar to actors before him . In Shakespeare's Plays in Performance John Russell Brown cites Macready's definition of the art of acting ...
Page 35
... idea that his inability to accept praise had something to do with the fact that Coriolanus was not really a good soldier , that he was a " phoney . " But the idea did not work and could not , for if Coriolanus is not an exceptional ...
... idea that his inability to accept praise had something to do with the fact that Coriolanus was not really a good soldier , that he was a " phoney . " But the idea did not work and could not , for if Coriolanus is not an exceptional ...
Page 39
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Contents
15 | |
31 | |
Eavesdropping and Stage Groupings in Twelfth Night and Troilus and Cressida | 42 |
The Recovery of the Elizabethan and Jacobean Playhouses | 56 |
Shakespeares Tragic Homeopathy | 77 |
Shakespeares Dramaturgical Foresight in King Lear | 85 |
Macbeth and Its Audience | 91 |
The Critical Reception of Shakespeares Tragedies in TwentiethCentury Germany | 97 |
Remembering Patriarchy in As You Like It | 139 |
Timons Servant Takes a Wife | 150 |
Pucks Headless BearRevisited | 157 |
make ropes in such a scarre | 163 |
The Poetics of Shakespeares Henry VI Trilogy | 186 |
Of Birds and Words in 1 Henry IV | 201 |
A Contemporary Playwright Looks at Shakespeares Plays | 207 |
List of Contributors | 224 |
Hamlet Romantic SelfConsciousness and the Roots of Modern Tragedy | 107 |
The Status of Women in Othello | 124 |
Index | 227 |
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Common terms and phrases
action actors All's audience's Bertram Bott Celia central audience century character Cinthio conjecture context Coriolanus Cressida critics crux death Desdemona Diana Diomedes downstage dramatic dramatist Duke Senior e'en Elizabethan stage Elizabethan theater emendation Emilia English essay Falstaff father feel forsake Freud Globe Globe playhouse Gloucester Greek Hamlet headless bear Henry Henry VI Henry's homeopathy Hotspur husband Iago iapes Ibid interpretation John Julius Caesar King Lear king's Lady language literature London lord Lucilius Macbeth Malvolio marriage misread murder option Orlando Othello parallels patriarchy play's playhouse playwright poet Richard Romantics rope's Rosalind says scarre scene sense sexual Shake Shakespeare Shakespeare's plays side audiences speak speare speare's speech Sprigg Stratford subtext suggests surance Susquehanna University Susquehanna University Studies theatrical Thersites thing thou thought Timon of Athens tion Toby toyes tragedy tragic hero Troilus Twelfth Night University Press vowes wife William William Shakespeare woman women words
Popular passages
Page 34 - And mine shall. Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply Passion as they...
Page 79 - TRAGEDY, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems ; therefore said by Aristotle to be of power, by raising pity, and fear, or terror, to purge the mind of those and such like passions, that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated.
Page 210 - Yes, trust them not ! for there is an upstart crow, beautified with our feathers, that with his " Tiger's heart wrapped in a player's hide," supposes he is as well able to bombast out a blank verse as the best of you ; and, being an absolute Johannes Factotum, is, in his own conceit, the only Shake-scene in a country.
Page 193 - Content' to that which grieves my heart, And wet my cheeks with artificial tears, And frame my face to all occasions.
Page 24 - The. latter part of his life was spent, as all men of good sense will wish theirs may be, in ease, retirement, and the conversation of his friends.
Page 20 - Stage-poets have themselves been very bold with, and others very merry at, the memory of Sir John Oldcastle ; whom they have fancied a boon companion, a jovial roister, and yet a coward to boot, contrary to the credit of all chronicles, owning him a martial man of merit. The best is, Sir John Falstaff hath relieved the memory of Sir John Oldcastle, and of late is substituted buffoon in his place ; but it matters as little what petulant poets, as what malicious papists, have written against him.
Page 116 - O God ! I could be bounded in a nut-shell, and count myself a king of infinite space ; were it not that I have bad dreams.
Page 131 - Out, and alas ! that was my lady's voice : — Help ! help, ho ! help ! — O lady, speak again ! Sweet Desdemona ! O, sweet mistress, speak ! Des. A guiltless death I die. Emil. O, who hath done This deed ? Des. Nobody ; I myself; farewell : Commend me to my kind lord ; O, farewell.
Page 81 - And worse I may be yet : the worst is not So long as we can say,