Reclamations of ShakespeareA. J. Hoenselaars |
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Results 1-5 of 28
Page 17
... speak to the king never needs a stage direction . Not to do so in the real Court was unthinkable — you doffed your hat to the throne even when it was empty . Thomas Smith in De Republica Anglorum registered the respect that was expected ...
... speak to the king never needs a stage direction . Not to do so in the real Court was unthinkable — you doffed your hat to the throne even when it was empty . Thomas Smith in De Republica Anglorum registered the respect that was expected ...
Page 19
... speak of reason to the Dane / And lose your voice " ( 1.2.44-45 ) . In the same scene the Queen begs Hamlet to be nicer to her new husband : " let thine eye look like a friend on Denmark " ( 1.2.69 ) , meaning Claudius . So it is easy ...
... speak of reason to the Dane / And lose your voice " ( 1.2.44-45 ) . In the same scene the Queen begs Hamlet to be nicer to her new husband : " let thine eye look like a friend on Denmark " ( 1.2.69 ) , meaning Claudius . So it is easy ...
Page 38
... speaking , this principle applies to all stage characters who jump from a narrative onto the stage , be it from a romance or a chronicle . Shakespeare proves aware of this in the first Chorus of Henry V , or in Julius Caesar with its ...
... speaking , this principle applies to all stage characters who jump from a narrative onto the stage , be it from a romance or a chronicle . Shakespeare proves aware of this in the first Chorus of Henry V , or in Julius Caesar with its ...
Page 39
... speak , who was in his youth an inland man " ( 3.2.335-37 ) , and by the final act Ganymede appears to have learned even more . This time it appears to be from " a magician , most profound in his art and yet not damnable " ( 5.2.61-62 ) ...
... speak , who was in his youth an inland man " ( 3.2.335-37 ) , and by the final act Ganymede appears to have learned even more . This time it appears to be from " a magician , most profound in his art and yet not damnable " ( 5.2.61-62 ) ...
Page 41
... speak " refers to a boy actor as apprentice , who must learn his speech and action from an ex- perienced player ( see also 3.2.360-412 ) , Shakespeare indicates that the actor does indeed get his language from the author , but that his ...
... speak " refers to a boy actor as apprentice , who must learn his speech and action from an ex- perienced player ( see also 3.2.360-412 ) , Shakespeare indicates that the actor does indeed get his language from the author , but that his ...
Contents
7 | |
21 | |
57 | |
The Rape of Lucrece and the Story of W | 75 |
Hearsay Soothsay | 105 |
Gender and Genre in Shakespeares Tragicomedies | 129 |
The Poet Laureates National Poet | 159 |
Myth Memory and Music | 173 |
Music as Meaning in The Tempest | 187 |
Another Look at | 201 |
Mapping Shakespeares Europe | 223 |
Every Word in Shakespeare | 273 |
Notes on Contributors | 303 |
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Common terms and phrases
A-Level actor All's allegorical Anthony Burgess Antony and Cleopatra Antony's Arden Edition audience Burgess Caesar century character comedy Cordelia critics cultural Cymbeline drama dramatists Dutch Elizabethan English fact female fiction figure film Fineman Folio Fool function Ganymede gender Hamlet harmony Henry Hercules hierarchy Hughes Hughes's interpretation intertextuality John Jonson Juliet Katherina King Lear Laforgue Laforgue's Hamlet language Lear's Leo Belgicus lines literary Literature London Love's Labour's Lost Lucrece's Lucretia Macbeth means Measure for Measure memory messenger metaphor Midsummer Night's Dream myth mythical narrator original Orlando performance play's poem poet political production Rape of Lucrece reading reality references Renaissance representation rhetoric romance Rosalind scene seems semblance semiotic sense Shake Shakespeare Shakespeare's plays Shrew Sir Herbert speare's speech stage direction story Tarquin Tempest textual theatre theatrical theory thou traditional tragedy tragicomedies Tree's visual voice Winter's Tale words writing
Popular passages
Page 235 - I tell you, captain, — if you look in the maps of the "orld, I warrant you shall find, in the comparisons between Macedon and Monmouth, that the situations, look you, is both alike. There is a river in Macedon ; and there is also moreover a river at Monmouth...
Page 214 - Not to a rage. Patience and sorrow strove Who should express her goodliest. You have seen Sunshine and rain at once: her smiles and tears Were like, a better way.
Page 74 - His legs bestrid the ocean : his rear'd arm Crested the world : his voice was propertied As all the tuned spheres, and that to friends ; But when he meant to quail and shake the orb, He was as rattling thunder. For his bounty, There...
Page 103 - If the object becomes allegorical under the gaze of melancholy, if melancholy causes life to flow out of it and it remains behind dead, but eternally secure, then it is exposed to the allegorist, it is unconditionally in his power. That is to say it is now quite incapable of emanating any meaning or significance of its own; such significance as it has, it acquires from the allegorist.
Page 221 - From Paris next, coasting the realm of France, We saw the river Maine fall into Rhine, Whose banks are set with groves of fruitful vines; Then up to Naples, rich Campania, Whose buildings fair and gorgeous to the eye, The streets straight forth, and paved with finest brick; Quarter the town in four equivalents. There saw we learned Maro's...
Page 176 - Remember thee? Yea, from the table of my memory I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past That youth and observation copied there, And thy commandment all alone shall live Within the book and volume of my brain, Unmixed with baser matter.
Page 206 - If you would have your kennell for sweetnesse of cry, then you must compound it of some large dogges, that have deepe solemne mouthes, and are swift in spending, which must, as it were, beare the base in the consort, then a double number of roaring, and loud ringing mouthes, which must beare the counter tenour, then some hollow, plaine, sweete mouthes, which must beare the meane or middle part ; and soe with these three parts of musicke you shall make your cry perfect.
Page 50 - The poet never maketh any circles about your imagination, to conjure you to believe for true what he writes.
References to this book
Shakespeare, Reception and Translation: Germany and Japan Friedrike Von Schwerin-High No preview available - 2004 |