Shakespeare Adaptations from the Restoration: Five PlaysBarbara A. Murray Fairleigh Dickinson Univ Press, 2005 - 556 páginas Between 1660 and 1682 seventeen of Shakespeare's plays were altered for the new Restoration stages and times. Shakespeare Adaptations from the Restoration: Five Plays now publishes five of these plays for the first time in a critical edition. |
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Página xi
... Shakespearean originals added dark motifs and pessimistic episodes as they remade the plays for their own stages and ... Shakespeare adaptations made between 1662 and 1682 these are the only ones ( with the exception of the curtailed ...
... Shakespearean originals added dark motifs and pessimistic episodes as they remade the plays for their own stages and ... Shakespeare adaptations made between 1662 and 1682 these are the only ones ( with the exception of the curtailed ...
Página xxvii
... Shakespeare's , and in showing what these plays have become , how they worked on their own stages , what they said to their own times , it is on the nature of this new " treasure " that one needs to focus . The plays were quite ...
... Shakespeare's , and in showing what these plays have become , how they worked on their own stages , what they said to their own times , it is on the nature of this new " treasure " that one needs to focus . The plays were quite ...
Página xxxi
... Shakespeare's early reputation . In common with many of his contemporaries Ravenscroft is deploying a vigorous metaphor ( here of building ) to depict his view of Shakespeare's rugged , natural , but unrefined genius ; in the fragment ...
... Shakespeare's early reputation . In common with many of his contemporaries Ravenscroft is deploying a vigorous metaphor ( here of building ) to depict his view of Shakespeare's rugged , natural , but unrefined genius ; in the fragment ...
Página xxxiii
... ( Shakespeare's 2.4 ) . Act IV begins at Shakespeare's 3.1 with Titus pleading for his sons and having the mutilated Lavinia brought to him by Marcus ; Aron then brings his deceitful message ; after a mainly new argument about who shall ...
... ( Shakespeare's 2.4 ) . Act IV begins at Shakespeare's 3.1 with Titus pleading for his sons and having the mutilated Lavinia brought to him by Marcus ; Aron then brings his deceitful message ; after a mainly new argument about who shall ...
Página xxxiv
... Shakespeare , rather with phallic power he " Digs a hole in the Earth with his Sword " and buries it . In what must surely be a deliberate visual echo , little Junius stands over the supposed buried hoard in the garden ( in act V ) with ...
... Shakespeare , rather with phallic power he " Digs a hole in the Earth with his Sword " and buries it . In what must surely be a deliberate visual echo , little Junius stands over the supposed buried hoard in the garden ( in act V ) with ...
Conteúdo
1 | |
The Misery of Civil War Henry VIs 1680 | 89 |
The History of King Richard the Second or The Sicilian Usurper Richard II 1680 | 193 |
Henry the Sixth The First Part with the Murder of Humphrey Duke of Glocester 1681 | 271 |
The Injured Princess or The Fatal Wager Cymbeline 1682 | 375 |
Notes | 455 |
Bibliography | 541 |
Outras edições - Ver todos
Shakespeare Adaptations from the Restoration: Five Plays Kristine Johanson Prévia não disponível - 2005 |
Termos e frases comuns
Aron Arviragus Aumerle Bassianus Bellarius Bentley and Magnes Blood Brother Bullingbrook Cade Cardinal Chiron Clifford Cloten cou'd Crowne Crowne's Cymbeline damn'd dead Death Demetrius Duke Duke's Company Durfey e're Edward Emperour Enter Eugenia Exeunt Exit Father fear Friends Gaunt give Glocester Greek mythology heart Heaven Henry Henry VI Honour I'le I'me Jachimo John Crowne Junius kill'd King Lear King's Kingdom Lady Elianor Lady Grey Lavinia live London Lord Love Lucius Madam Marcus Misery of Civil Murderer Nahum Tate ne're Noble Northumberland Palladour Pisanio Plantagenet play play's Plot Popish Plot pray Prince prologue Queen Ravenscroft Restoration revenge Richard II Richard Plantagenet Roman Rome Royal Scene Shakespeare Shattillion shew shou'd Sons Soul Souldiers speak Suffolk Sword Tamora Tate Tate's Tears tell theater thee Thomas Durfey thou art thou hast Titus Andronicus Traytor University Press Ursaces Villain Warwick weep whilst Woman wou'd York
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Página 256 - Richard; no man cried, God save him; No joyful tongue gave him his welcome home : But dust was thrown upon his sacred head ; Which with such gentle sorrow he shook off, — His face still combating with tears and smiles, The badges of his grief and patience ; — That had not God, for some strong purpose, steel'd The hearts of men, they must perforce have melted, And barbarism itself have pitied him.
Página 5 - I have been told by some anciently conversant with the Stage, that it was not Originally his, but brought by a private Author to be Acted, and he only gave some Mastertouches to one or two of the Principal Parts or Characters...
Página 196 - Stage; with as little design of satyr on present Transactions, as Shakespear himself that wrote this Story before this Age began.
Página 200 - Quails popule& moerens Philomela sub umbra Amissos queritur foetus, quos durus arator Observans nido implumes detraxit ; at ilia Flet noctem, ramoque sedens miserabile carmen Integral, et moestis late loca questibus implet.
Página 479 - England's Worthies. Select Lives of the most eminent persons of the English nation from Constantine the Great down to these times.
Página 199 - Disadvantage: many things were by this means render 'd obscure and incoherent that in their native Dress had appear 'd not only proper but gracefull. I 150 call'd my Persons Sicilians but might as well have made 'em Inhabitants of the Isle of Pines, or, World in the Moon, for whom an Audience are like to have small Concern.
Página 265 - My brain I'll prove the female to my soul; My soul the father: and these two beget A generation of still-breeding thoughts...