Patterns and Perspectives in English Renaissance DramaUniversity of Delaware Press, 1988 - 309 páginas These essays bring attention to the designs that the English Renaissance playwrights imposed on their work. Among the patterns explored are those inspired by the literature, drama, or poetics of classical times and visual patterns derived from traditions of stage presentation. |
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Página 28
... begins with an introduction , followed by the " argument " of the controversy , the " Declamande controversie Titulus de nobilitate , " which tells how the noble and wealthy Publius Cornelius and the poor but virtuous Gaius Flaminius ...
... begins with an introduction , followed by the " argument " of the controversy , the " Declamande controversie Titulus de nobilitate , " which tells how the noble and wealthy Publius Cornelius and the poor but virtuous Gaius Flaminius ...
Página 42
... begin reading this story , we shall be struck immediately by the emphasis on pathos : King Pandion's tearful farewell to his daughter Philomela , and his injunction to Tereus to " guard her with a father's love " ; 6 the rape itself in ...
... begin reading this story , we shall be struck immediately by the emphasis on pathos : King Pandion's tearful farewell to his daughter Philomela , and his injunction to Tereus to " guard her with a father's love " ; 6 the rape itself in ...
Página 43
... begin to emerge . The theme of metamorphosis , which gives the work its title , is a vital part of the meaning . It appears in several variant forms . Most obviously there are the physical transformations , such as those I have just ...
... begin to emerge . The theme of metamorphosis , which gives the work its title , is a vital part of the meaning . It appears in several variant forms . Most obviously there are the physical transformations , such as those I have just ...
Página 65
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Página 68
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Conteúdo
23 | |
41 | |
English Style French Style | 55 |
Reflections on the Authors Agents in Comedy | 65 |
The Appeal of the Comic Deceiver | 78 |
Aristophanes Plautus Terence and the Refinement of English Comedy | 89 |
The English Masque and the Functions of Comedy | 107 |
Patterns Derived from Traditions of Staging | 125 |
Things as They Are and the World of Absolutes in Jonsons Plays and Masques | 179 |
John Ford and the Final Exaltation of Love | 196 |
Patterns Suited to Perspectives | 207 |
Marlowe and the Jades of Asia | 209 |
The Shadow of Action | 225 |
The Dramatic Structure of The Broken Heart | 240 |
King John and the Drama of History | 252 |
Mad Lovers Vainglorious Soldiers | 281 |
The Wounds of Civil War in Plays by Shakespeare and His Predecessors | 127 |
The Ceremonies of Titus Andronicus | 138 |
Shakespeare and the Ceremonies of Romance | 148 |
Spectacles of State | 167 |
Shakespeare and Fletcher on Love and Friendship | 289 |
Index | 304 |
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Termos e frases comuns
action actor admiration antimasque appears Aristophanes audience Barabas Bartholomew Fair Bassanes Ben Jonson Caesar called Cambridge ceremony characters Charalois classical comic Constance controversia court critics dance death deceivers declamation dramatic Dryden edition Edward Edward II effect Elizabethan Emilia emotional English essay Fatal Dowry feelings final Fletcher friendship Gaveston gives Henry hero heroic humor ideal imitation Inigo Jones Ithocles John Ford Jonson Jonsonian King John knight Knight's Tale ladies laughter Lavinia London lover Mad Lover Marlowe Marlowe's masque masquers means Memnon moral Mortimer Noble Kinsmen onstage Orgilus Ovid pattern Peniboy Penthea performed Plautus play playwright plot poetry political present Queen Renaissance reprinted revenge rhetorical romance satire says scene seems Shakespeare sort spectacle spectators speech stage direction Stephen Orgel story style suggest Tamburlaine Tamora Terence theatre theme Theseus tion Titus Andronicus Titus's tradition tragedy tragicomedy transformation translation triumph University Press words
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Página 228 - The troublesome Raigne and lamentable Death of Edward the Second, King of England: with the tragicall fall of proud Mortimer.
Página 70 - Gentle breath of yours my sails Must fill, or else my project fails, Which was to please. Now I want Spirits to enforce, art to enchant; And my ending is despair Unless I be reliev'd by prayer, Which pierces so that it assaults Mercy itself, and frees all faults.
Página 102 - ... not void of these talents, have made so wretched a use of them, that, had the consecration of their labours been committed to the hands of the hangman, no good man would have regretted their loss; nor am I afraid to mention Rabelais, and Aristophanes himself, in this number. For, if I may speak my opinion freely of these two last writers, and of their works, their design appears to me very plainly to have been to ridicule all sobriety, modesty, decency, virtue, and religion, out of the world.
Página 223 - Had fed the feeling of their masters' thoughts, And every sweetness that inspir'd their hearts, Their minds, and muses on admired themes; If all the heavenly quintessence they still From their immortal flowers of poesy, Wherein, as in a mirror, we perceive The highest reaches of a human wit; If these had made one poem's period, And all...
Página 231 - And with the world be still at enmity. What need the arctic people love starlight, To whom the sun shines both by day and night? Farewell base stooping to the lordly peers! My knee shall bow to none but to the king. As for the multitude, that are...
Página 237 - My head the latest honour due to it, And jointly both yield up their wished right. Continue ever, thou celestial sun ; Let never silent night possess this clime ; Stand still, you watches...
Página 210 - Holla, ye pampered jades of Asia! What, can ye draw but twenty miles a day, And have so proud a chariot at your heels, And such a coachman as great Tamburlaine, But from Asphaltis, where I conquered you, To Byron here, where thus I honour you?
Página 97 - Tis not the' poet, but the age is prais'd. Wit's now arriv'd to a more high degree; Our native language more refin'd and free. Our ladies and our men now speak more wit In conversation, than those poets writ.