Shakespeare's Late StyleWhen Shakespeare gave up tragedy around 1607 and turned to the new form we call romance or tragicomedy, he created a distinctive poetic idiom that often bewildered audiences and readers. The plays of this period, Pericles, Cymbeline, The Winter's Tale, The Tempest, as well as Shakespeare's part in the collaborations with John Fletcher (Henry VIII and The Two Noble Kinsmen), exhibit a challenging verse style - verbally condensed, metrically and syntactically sophisticated, both conversational and highly wrought. In Shakespeare's Late Style, McDonald anatomizes the components of this late style, illustrating in a series of topically organized chapters the contribution of such features as ellipsis, grammatical suspension, and various forms of repetition. Resisting the sentimentality that frequently attends discussion of an artist's 'late' period, Shakespeare's Late Style shows how the poetry of the last plays reveals their creator's ambivalent attitude towards art, language, men and women, the theatre, and his own professional career. |
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Page 42
... especially compared to some of the dramas written shortly before it, such as Measure. 1 Howell's Devises 1581, With an Introduction by Walter Raleigh (Oxford: Clarendon Press, 1906), p. 31. 42 2 Clifford Leech, “Masking and Unmasking in ...
... especially compared to some of the dramas written shortly before it, such as Measure. 1 Howell's Devises 1581, With an Introduction by Walter Raleigh (Oxford: Clarendon Press, 1906), p. 31. 42 2 Clifford Leech, “Masking and Unmasking in ...
Page 44
... especially important , as it will in Coriolanus and Antony and Cleopatra , is that Shakespeare associates ambiguous speech especially with predatory females , in this case with demonic women . An affiliation between women and wicked ...
... especially important , as it will in Coriolanus and Antony and Cleopatra , is that Shakespeare associates ambiguous speech especially with predatory females , in this case with demonic women . An affiliation between women and wicked ...
Page 52
... especially so. As Greenblatt reminds us, “Shakespeare was part of a profession that made its money manipulating images and playing with the double and doubtful senses of words.”13 At this point in his career, Shakespeare is becoming ...
... especially so. As Greenblatt reminds us, “Shakespeare was part of a profession that made its money manipulating images and playing with the double and doubtful senses of words.”13 At this point in his career, Shakespeare is becoming ...
Page 54
... especially pertinent example when he shows that the Folio spelling of voyce for vice in Cloten's discussion of music in Act 2 of Cymbeline is not a misprint but a quibble . ” Coriolanus may be thought of as a study of the vice of voice ...
... especially pertinent example when he shows that the Folio spelling of voyce for vice in Cloten's discussion of music in Act 2 of Cymbeline is not a misprint but a quibble . ” Coriolanus may be thought of as a study of the vice of voice ...
Page 56
... especially chapter 7 , “ Syndeton and Asyndeton in Coriolanus , ” pp . 159–78 . George Puttenham , The Arte of English Poesie , a facsimile reproduction ed . Edward Arber , with an Introduction by Baxter Hathaway ( Athens , Ohio : Kent ...
... especially chapter 7 , “ Syndeton and Asyndeton in Coriolanus , ” pp . 159–78 . George Puttenham , The Arte of English Poesie , a facsimile reproduction ed . Edward Arber , with an Introduction by Baxter Hathaway ( Athens , Ohio : Kent ...
Contents
Section 1 | 66 |
Section 2 | 76 |
Section 3 | 77 |
Section 4 | 81 |
Section 5 | 96 |
Section 6 | 99 |
Section 7 | 106 |
Section 8 | 156 |
Section 10 | 195 |
Section 11 | 199 |
Section 12 | 206 |
Section 13 | 219 |
Section 14 | 226 |
Section 15 | 229 |
Section 16 | 233 |
Section 17 | 244 |
Section 9 | 181 |
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Common terms and phrases
alliteration Antony and Cleopatra appears Arcadia artifice assonance audience aural Cambridge chapter characters clauses Comedy complex consonants Coriolanus creates Cymbeline delight dramatic echoes effect Elizabethan ellipsis elliptical English episodes especially example female feminine figure gender grammatical Henry VIII illusion Imogen implies irony Jacobean Kenneth Burke kind King Lear language last plays late plays late style late verse Leontes listener literary London Macbeth Marina masculine meaning metaphor metrical mode narrative Noble Kinsmen omission Oxford passage Patricia Parker patterns Paulina Perdita Pericles perspective phrases playwright pleasure plot poet poetic poetry Princeton Prospero's Puttenham Queen reader reiterative relation repeated repetition reunion rhetorical rhythm rhythmic romance fiction scene seems self-conscious semantic sense sentence sexual Shakespeare Shakespearean romance Simon Palfrey sounds speak speech Stephen Booth stories structure stylistic syllables syntactical syntax Tempest theatre theatrical thee thou tion tragedies University Press verb verbal vowels Winter's Tale women words
Popular passages
Page 253 - SYSTEMATIC defence of the theory here maintained, it would have been my duty to develope the various causes upon which the pleasure received from metrical language depends. Among the chief of these causes is to be reckoned a principle which must be well known to those who have made any of the Arts the object of accurate reflection ; namely, the pleasure which the mind derives from the perception of similitude in dissimilitude.
Page 49 - Sleep no more! Macbeth does murder sleep,' the innocent sleep, Sleep that knits up the ravelled sleave* of care, The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast,— Lady M, What do you mean ? Macb. Still it cried' Sleep no more !' to all the house ' Glamis hath murdered sleep, and therefore Cawdor Shall sleep no more; Macbeth shall sleep no more.
Page 180 - Tis her breathing that Perfumes the chamber thus. The flame o' th' taper Bows toward her and would under-peep her lids To see th' enclosed lights, now canopied Under these windows white and azure, lac'd With blue of heaven's own tinct.
Page 200 - t in a woman's key, like such a woman As any of us three ; weep ere you fail; Lend us a knee ; But touch the ground for us no longer time Than a dove's motion, when the head 's pluck'd off; Tell him, if he i' the blood-siz'd field lay swoln, Showing the sun his teeth, grinning at the moon, What you would do ! Hip.