Shakespeare: The Dark Comedies to the Last Plays: from satire to celebrationFirst published in 1971. This volume explains and analyses the last plays of Shakespeare as dramatic structures. Beginning from the dark comedies, the author describes the ways in which Shakespeare was affected by the new techniques and possibilities for drama opened up by the innovations of the years after 1600, notably by the rise in children's companies. The main line of development of Shakespeare's dramatic skills is shown as leading from the dark comedies, through the late tragedies, to the last plays. A major part of the book is devoted to analyses of Cymbeline, The Winter's Tale, The Tempest and King Henry VIII. |
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Page 18
... Come , fear not you : good counsellors lack no clients . Though you change your place , you need not change trade : I'll be your tapster still . Courage , there will be pity taken on you ; you that have worn your eyes almost out in the ...
... Come , fear not you : good counsellors lack no clients . Though you change your place , you need not change trade : I'll be your tapster still . Courage , there will be pity taken on you ; you that have worn your eyes almost out in the ...
Page 20
... come to plead for Claudio's life , and Angelo . As in the scene in All's Well in which Helena cures the King ... comes in these scenes to admit that his blood , far from being ' snow - broth ' as Lucio had said , is as hot as ...
... come to plead for Claudio's life , and Angelo . As in the scene in All's Well in which Helena cures the King ... comes in these scenes to admit that his blood , far from being ' snow - broth ' as Lucio had said , is as hot as ...
Page 21
... come into serious collision with the inflexibilities of the law . Nevertheless , it is important to distinguish between the way the characters see themselves , and the pattern of expectations set up from the start of the action , with ...
... come into serious collision with the inflexibilities of the law . Nevertheless , it is important to distinguish between the way the characters see themselves , and the pattern of expectations set up from the start of the action , with ...
Page 23
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Page 25
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Contents
Shakespeare and satirical comedy | 28 |
Shakespeare and satirical tragedy | 63 |
Shakespeares last plays | 130 |
A note on King Henry VIII | 184 |
Common terms and phrases
accept Achilles action Angelo Antonio appears Ariel audience Autolycus bear becomes beginning Bertram bring brought Caliban calls Camillo carries characters Cloten comedies comes comic concern Coriolanus court Cressida critical Cymbeline death developed disguise Duke earlier edition effect fact Ferdinand figure final Florizel follows fool fortune give Hamlet hand happens heavens Helena Henry Hermione honour human idea Imogen important Isabella Jonson kind King Leontes lines live look magic marriage Marston masque means Measure Miranda moral nature offers opening Parolles passion Perdita perhaps perspective play Polixenes possible Posthumus present Prospero provides queen relation remains revenge role rule satire says scene seems seen sense Shakespeare shows speak speech stage strange suggest Tale thee things thou thought tragedy Troilus true truth turn virtue vision