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 110
... Viola feels but is too self - protective to confess : that not to remain in disguise , whatever knot it creates , is ... Viola / Cesario reiterates in the next scene , where she laments that women , like roses , " die , even when they to ...
... Viola feels but is too self - protective to confess : that not to remain in disguise , whatever knot it creates , is ... Viola / Cesario reiterates in the next scene , where she laments that women , like roses , " die , even when they to ...
Página 111
... Viola's pluck . Thus , when she finally cues Viola / Cesario to speak from the heart about how she would woo , Olivia immediately succumbs to the " willow cabin " speech ( 268-76 ) , and the audience is introduced to the authentic ...
... Viola's pluck . Thus , when she finally cues Viola / Cesario to speak from the heart about how she would woo , Olivia immediately succumbs to the " willow cabin " speech ( 268-76 ) , and the audience is introduced to the authentic ...
Página 113
... Viola . Thus , Christian love can inform romantic love , enriching romantic comedy with a more serious dimension that , in Renaissance tradition , it often lacked . Fittingly , as if induced by Viola / Cesario's self - sacrifice , the ...
... Viola . Thus , Christian love can inform romantic love , enriching romantic comedy with a more serious dimension that , in Renaissance tradition , it often lacked . Fittingly , as if induced by Viola / Cesario's self - sacrifice , the ...
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 |