Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their PlaysUniversity of Delaware Press, 1997 - 250 páginas Why do characters named Antonio proliferate on the English Renaissance stage? Why are they so often paired with other characters named Sebastian? And more significantly, why are they repeatedly characterized by Shakespeare and his contemporaries as fools for love? Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio. Such characters ultimately derive from the rich medieval iconography and hagiography of Saint Anthony of Egypt. How this knowledge reinforms our late-twentieth-century understanding of the four plays in question is addressed in separate chapters that range widely across each work: The Merchant of Venice, Twelfth Night, Antony and Cleopatra, and The Tempest. |
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Página 58
... Christian hypocrisy , the central one in Shakespeare's plot ( 1.3.145 ) . Having finally consented to dine with the Christians in the spirit of “ hate ” ( 2.5.14 ) , Shylock discovers too late just how much they have " flatter [ ed ] ...
... Christian hypocrisy , the central one in Shakespeare's plot ( 1.3.145 ) . Having finally consented to dine with the Christians in the spirit of “ hate ” ( 2.5.14 ) , Shylock discovers too late just how much they have " flatter [ ed ] ...
Página 123
... Christian tradition : the first , in The Merchant of Venice , falls short of the Christian charity he professes , and the second , in Twelfth Night , practices an authentic Christian charity that , as the play ends , seems indefinitely ...
... Christian tradition : the first , in The Merchant of Venice , falls short of the Christian charity he professes , and the second , in Twelfth Night , practices an authentic Christian charity that , as the play ends , seems indefinitely ...
Página 215
... Christian folly , see chap . 1. Although Christopher Wortham argues that , since Antony is an antitype of Hercules and Hercules is a type for Christ , Antony is , by extension , a virtual antitype of Christ , Wortham has not considered ...
... Christian folly , see chap . 1. Although Christopher Wortham argues that , since Antony is an antitype of Hercules and Hercules is a type for Christ , Antony is , by extension , a virtual antitype of Christ , Wortham has not considered ...
Índice
Acknowledgments | 9 |
Characters Named Antonio | 20 |
Antonio and Alienation in | 51 |
Direitos de autor | |
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Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their Plays Cynthia Lewis Pré-visualização limitada - 1997 |
Palavras e frases frequentes
acceptance action Antonio Antony and Cleopatra Antony's appear artists audience Bassanio become believe Caesar Caliban calls century characterization characters choice Christ Christian completely concerns continually course critics death desire discussion disguise Drama earlier early Elizabethan English especially example experience fact feelings Feste Feste's final fool foolish further give hand human ideal identity instance John judgment kind language late later least less lines live Malvolio meaning Medieval Merchant of Venice Michigan moral motives nature never Night Olivia once particular perhaps play play's political Portia practical present Press pride problem Prospero question reason reference remains Renaissance response Saint Anthony scene Sebastian seems sense Shakespeare Shylock speaks spiritual stage Antonios Studies suggests Tempest trial true truth turn Twelfth Twelfth Night University Viola wisdom wise folly worldly York
Referências a este livro
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Pré-visualização limitada - 2008 |
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Pré-visualização limitada - 2008 |