Beyond Tragedy: Structure and Experience in Shakespeare's RomancesIn this compact, yet comprehensive exploration of Shakespeare's romances, Robert W. Uphaus suggests that the romances bring us to a realm of human and dramatic experience that is "beyond tragedy." The inexorable movement of tragedy toward death and a final close is absorbed in romance by a further movement in which death can lead to renewed life, characters can experience a second time of joy and peace, and the audience's conventional expectations about reality and literature are challenged and enlarged. In the late tragedies of King Lear and Antony and Cleopatra, Uphaus finds the tragic structure augmented by elements that will later contribute to the form of the romances. Turning then to the romances themselves, he sees these plays as forming a profession in which Pericles is a brilliant outline of the conventions of romance and Cymbeline is romance taken to its dramatic limits, in fact to the point of parody. Through his fresh and provocative readings of the plays we experience anew the delight of Shakespearean romance and glimpse the world of renewal at its heart. |
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Although the exact dates of Shakespeare's plays are conjectural, there is general agreement that such plays as Macbeth, King Lear, and Antony and Cleopatra immediately precede Shakespeare's romances. What makes these plays, ...
is implied in Macbeth, intimated in Act IV of King Lear, and enacted throughout Antony and Cleopatra. As will be apparent in the next chapter, however, I am not suggesting that Macbeth, King Lear, and Antony and Cleopatra are something ...
In this chapter I shall consider the spectrum of tragic structure in some of Shakespeare's later tragedies and argue that while Macbeth is an orthodox tragedy, King Lear and Antony and Cleopatra, defined against Macbeth, ...
Unlike Macbeth and King Lear, Antony and Cleopatra systematically displays an alternative to its tragic action. In a sense Antony and Cleopatra has it both ways—tragedy and tentative romance—and this is what makes the play at best a ...
Toward the end of Act II, Caesar and Antony are on board Pompey's galley, and Pompey, as well as Antony, is anxious to turn ... Adopting the Alexandrian view, Antony says to Cleopatra: Let's not confound the time with conference harsh; ...
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Contents
1 | |
12 | |
Pericles and the Conventions of Romance | 34 |
Cymbeline and the Parody of Romance | 49 |
The Issues of The Winters Tale | 69 |
Prosperos Art and the Descent of Romance | 92 |
History Romance and Henry VIII | 118 |
NOTES | 141 |
INDEX | 149 |
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Beyond Tragedy: Structure and Experience in Shakespeare's Romances Robert W. Uphaus Limited preview - 2021 |