Shakespeare Adaptations from the Restoration: Five PlaysBarbara A. Murray Fairleigh Dickinson Univ Press, 2005 - 556 Seiten 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. |
Im Buch
Ergebnisse 1-5 von 71
Seite xii
... tell us a good deal about the early reputation of Shakespeare , as well as about the versatility of Restoration stages and the desires of their audience , is a bonus . Their stage histories indicate that the work of Crowne and Durfey ...
... tell us a good deal about the early reputation of Shakespeare , as well as about the versatility of Restoration stages and the desires of their audience , is a bonus . Their stage histories indicate that the work of Crowne and Durfey ...
Seite xxix
... tell something about the relationship that was being struck in the theater between audience and actors . This is not possible with Ravenscroft's Titus Andronicus , however , since — as the address to the Reader explains the original ...
... tell something about the relationship that was being struck in the theater between audience and actors . This is not possible with Ravenscroft's Titus Andronicus , however , since — as the address to the Reader explains the original ...
Seite xxxvi
... tell the sorrowful Story for her " , but she now makes use of kisses and gestures - as well as writing , as in Shakespeare to reveal it to her father , who himself feels that the dead heads of his sons " do seem to speak to [ him ] ...
... tell the sorrowful Story for her " , but she now makes use of kisses and gestures - as well as writing , as in Shakespeare to reveal it to her father , who himself feels that the dead heads of his sons " do seem to speak to [ him ] ...
Seite xlvi
... tell you to your face , Duke Henry ; / That you have neither Title nor Desert " ( I.ii.146-51 ) . By act V , however , Henry has regained Warwick's support , but he is confused by the ostensible reason and says plaintively to Warwick ...
... tell you to your face , Duke Henry ; / That you have neither Title nor Desert " ( I.ii.146-51 ) . By act V , however , Henry has regained Warwick's support , but he is confused by the ostensible reason and says plaintively to Warwick ...
Seite lviii
... tell thee King ' twas none of these Politicks that made thee King " . Tate has created , therefore , on the one hand the simple love of queen for king with the pathos of its vulnerability to political brutality ; and on the other the ...
... tell thee King ' twas none of these Politicks that made thee King " . Tate has created , therefore , on the one hand the simple love of queen for king with the pathos of its vulnerability to political brutality ; and on the other the ...
Inhalt
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 |
Andere Ausgaben - Alle anzeigen
Shakespeare Adaptations from the Restoration: Five Plays Kristine Johanson Keine Leseprobe verfügbar - 2005 |
Häufige Begriffe und Wortgruppen
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
Beliebte Passagen
Seite 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.
Seite 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...
Seite 196 - Stage; with as little design of satyr on present Transactions, as Shakespear himself that wrote this Story before this Age began.
Seite 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.
Seite 479 - England's Worthies. Select Lives of the most eminent persons of the English nation from Constantine the Great down to these times.
Seite 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.
Seite 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...