Time and the Artist in Shakespeare's English HistoriesUniversity of Delaware Press, 1983 - 278 páginas This book is a critical inquiry into Shakespeare's English history plays of the 1590s which poses radical questions about the relationship between dramatic making and historic knowing. What happens, the author asks, when a powerful imagination that transforms everything it touches into present action grapples with the stuff of history? What becomes of the history, and what happens to the drama? What are the history plays? The author seeks to answer these and other fundamental questions. |
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Página 43
... Margaret as Henry's " procurator " and now has come to " deliver up my title in the queen " to " that great shadow I did represent . " Margaret's salutation to " mine alderliefest lord " is ceremoniously neutral , but Henry's re- sponse ...
... Margaret as Henry's " procurator " and now has come to " deliver up my title in the queen " to " that great shadow I did represent . " Margaret's salutation to " mine alderliefest lord " is ceremoniously neutral , but Henry's re- sponse ...
Página 89
... MARGARET [ after sixteen lines of cursing ] thou detested- RICHARD Margaret . MARGARET Richard ! RICHARD Ha ! MARGARET RICHARD I call thee not . I cry thee mercy then ; for I did think That thou hadst called me all these bitter names .
... MARGARET [ after sixteen lines of cursing ] thou detested- RICHARD Margaret . MARGARET Richard ! RICHARD Ha ! MARGARET RICHARD I call thee not . I cry thee mercy then ; for I did think That thou hadst called me all these bitter names .
Página 90
... Margaret's the- ater - mode radically opposes Richard's , but they are yoked to- gether . Margaret's curses have a potential power to anyone secretly sharing her outright belief in magical language - which means everyone but Richard ...
... Margaret's the- ater - mode radically opposes Richard's , but they are yoked to- gether . Margaret's curses have a potential power to anyone secretly sharing her outright belief in magical language - which means everyone but Richard ...
Índice
Introduction | 11 |
The Artist as Adventurer | 21 |
Undoing all as all had never | 42 |
Direitos de autor | |
12 outras secções não apresentadas
Palavras e frases frequentes
action actor Agincourt Angiers antic audience Bad Quartos Bastard becomes blood Boarshead Bolingbroke ceremony character Chorus comedy consciousness conventional course crown death dramatic dramatist dream E. M. W. Tillyard Edward energy English Falstaff father feel fiction fictive figure force future Gloucester Gloucester's Hal's Harfleur hath Henry IV Henry VI Henry VI plays Henry's history plays Hotspur Hubert imagine John's kind King John king of shadows king's language Love's Labor's Lost machiavellian Margaret material means Metadrama Michael Goldman mock mode Mortimer motives murder myth natural never parody passion past performance play's playwright postures present Prince reality response rhetorical rhythms Richard Richard III ritual Robert Ornstein role scene seems sense sequence Shake Shakespeare shape soldiers soliloquy speak speech stage strong possession structure style Talbot theater theatrical thou tion true University Press verbal voice words York York's
Referências a este livro
Shakespeare's English and Roman History Plays: A Marxist Approach Paul N. Siegel Pré-visualização limitada - 1986 |