Download e-book for kindle: A Companion to Shakespeare's Works, Volume 1: The Tragedies by Richard Dutton, Jean E. Howard

By Richard Dutton, Jean E. Howard

ISBN-10: 0470996536

ISBN-13: 9780470996539

ISBN-10: 063122632X

ISBN-13: 9780631226321

The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely complete image of present Shakespeare feedback. This quantity seems to be at Shakespeare’s tragedies.

  • Contains unique essays on each Shakespearean tragedy from Titus Andronicus to Coriolanus.
  • Includes 13 extra essays on such issues as Shakespeare's Roman tragedies, Shakespeare's tragedies on movie, Shakespeare's tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.
  • Brings jointly new essays from a various, foreign team of students.
  • Complements David Scott Kastan's A significant other to Shakespeare (1999), which occupied with Shakespeare as an writer in his historic context.
  • Offers a provocative roadmap to Shakespeare stories.

Chapter 1 “A rarity so much beloved”: Shakespeare and the assumption of Tragedy (pages 5–22): David Scott Kastan
Chapter 2 The Tragedies of Shakespeare's Contemporaries (pages 23–46): Martin Coyle
Chapter three Minds in corporation: Shakespearean Tragic feelings (pages 47–72): Katherine Rowe
Chapter five The Divided Tragic Hero (pages 73–94): Catherine Belsey
Chapter five Disjointed instances and Half?Remembered Truths in Shakespearean Tragedy (pages 95–108): Philippa Berry
Chapter 6 studying Shakespeare's Tragedies of affection: Romeo and Juliet, Othello, and Antony and Cleopatra in Early glossy England (pages 108–133): Sasha Roberts
Chapter 7 Hamlet Productions Starring Beale, Hawke, and Darling From the point of view of functionality background (pages 134–157): Bernice W. Kliman
Chapter eight textual content and Tragedy (pages 158–177): Graham Holderness
Chapter nine Shakespearean Tragedy and spiritual identification (pages 178–198): Richard C. McCoy
Chapter 10 Shakespeare's Roman Tragedies (pages 199–218): Gordon Braden
Chapter eleven Tragedy and Geography (pages 219–240): Jerry Brotton
Chapter 12 vintage movie models of Shakespeare's Tragedies: A replicate for the days (pages 241–261): Kenneth S. Rothwell
Chapter thirteen modern movie types of the Tragedies (page 262): Mark Thornton Burnett
Chapter 14 Titus Andronicus: A Time for Race and Revenge (pages 284–302): Ian Smith
Chapter 15 “There isn't any international with out Verona walls”: town in Romeo and Juliet (pages 303–318): Naomi Conn Liebler
Chapter sixteen “He that thou knowest thine”: Friendship and repair in Hamlet (pages 319–338): Michael Neil
Chapter 17 Julius Caesar (pages 339–356): Rebecca W. Bushnell
Chapter 18 Othello and the matter of Blackness (pages 357–374): Kim F. Hall
Chapter 19 King Lear (pages 375–392): Kiernan Ryan
Chapter 20 Macbeth, the current, and the previous (pages 393–410): Kathleen McLuskie
Chapter 21 The Politics of Empathy in Antony and Cleopatra: A View from lower than (pages 411–429): Jyotsna G. Singh
Chapter 22 Timon of Athens: The Dialectic of Usury, Nihilism, and artwork (pages 430–451): Hugh Grady
Chapter 23 Coriolanus and the Politics of Theatrical excitement (pages 452–472): Cynthia Marshall

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Additional resources for A Companion to Shakespeare's Works, Volume 1: The Tragedies

Sample text

The vehicle for this suffering is the soliloquy, which comes to serve as a sign both of tragedy and of the tragic protagonist, operating as a special moment in the play and as something distinctive to the genre, though not, of course, limited to it. Part of the effect of the soliloquy, as has often been noted, is to create a sympathy with the central figure, but also, in the case of The Spanish Tragedy, to reposition the audience politically. Issues of law and violence, we see through Hieronimo’s impassioned analyses, become the responsibility not of the state machine but of individual judgment (Kinney 1999: 49).

This may tie in with the way the play sets out to gain a certain sympathy for Anne through her address to women in the audience, so establishing a special relationship between stage and the domestic world. Such moralizing may seem trite but it is also present, for example, in Emilia’s speech to the audience in act 4 in Othello. But Heywood is a lot more conservative than Shakespeare. Even if we read A Woman Killed with Kindness ironically, what he seems to be offering is a reinscription of value within the limited world of the domestic rather than in the heroic and dangerous world of Othello.

James had argued “very strongly and expresly against butchering euen of Tyrannical Kings” in his Trew Law of Free Monarchies, in McIlwain (1918: 64). For a fuller account of the complex politics of the play, see Kastan (1999: 165–82). Berger (1997: 70–97); first published as “The Early Scenes of Macbeth: Preface to a New Interpretation”, ELH, 47 (1980): 1–31. Croce (1920: 229). Bradley (1991: 305). “[I]f we thought murders and treasons real, they would please no more,” Johnson adds; in his “Preface to the Edition of Shakespeare’s Plays” (1765), in Woudhuysen (1989: 136).

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A Companion to Shakespeare's Works, Volume 1: The Tragedies by Richard Dutton, Jean E. Howard

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