Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their PlaysUniversity of Delaware Press, 1997 - 250 sivua Why do characters named Antonio proliferate on the English Renaissance stage? Why are they so often paired with other characters named Sebastian? And more significantly, why are they repeatedly characterized by Shakespeare and his contemporaries as fools for love? Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio. Such characters ultimately derive from the rich medieval iconography and hagiography of Saint Anthony of Egypt. How this knowledge reinforms our late-twentieth-century understanding of the four plays in question is addressed in separate chapters that range widely across each work: The Merchant of Venice, Twelfth Night, Antony and Cleopatra, and The Tempest. |
Kirjan sisältä
Tulokset 1 - 3 kokonaismäärästä 42
Sivu 133
... lines in 5.2 : " Tis paltry to be Caesar ; / Not being Fortune , he's but Fortune's knave , / A minister of her will " ( 2–4 ) . Her success at her goal is stressed repeatedly at the point of her death , first by her lines to the asp ...
... lines in 5.2 : " Tis paltry to be Caesar ; / Not being Fortune , he's but Fortune's knave , / A minister of her will " ( 2–4 ) . Her success at her goal is stressed repeatedly at the point of her death , first by her lines to the asp ...
Sivu 180
... lines would indicate as much , neither does he speak to the contrary . He makes one more lame joke before the play closes , implying less defiance of than indifference to Prospero's high hopes that he will transform ( 5.1.265–66 ) . But ...
... lines would indicate as much , neither does he speak to the contrary . He makes one more lame joke before the play closes , implying less defiance of than indifference to Prospero's high hopes that he will transform ( 5.1.265–66 ) . But ...
Sivu 210
... lines 49-53 ? Viola / Cesario's line " tis well begg'd " suggests that he does . 27. Barber , Shakespeare's Festive Comedy , 254 . 28. Since becoming popular in the 1970s , critical study of individual identity in Twelfth Night has ...
... lines 49-53 ? Viola / Cesario's line " tis well begg'd " suggests that he does . 27. Barber , Shakespeare's Festive Comedy , 254 . 28. Since becoming popular in the 1970s , critical study of individual identity in Twelfth Night has ...
Sisältö
Acknowledgments | 9 |
Characters Named Antonio | 20 |
Antonio and Alienation in | 51 |
Tekijänoikeudet | |
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Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their Plays Cynthia Lewis Rajoitettu esikatselu - 1997 |
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acceptance action Antonio Antony and Cleopatra Antony's appear artists audience Bassanio become believe Caesar Caliban calls century characterization characters choice Christ Christian completely concerns continually course critics death desire discussion disguise Drama earlier early Elizabethan English especially example experience fact feelings Feste Feste's final fool foolish further give hand human ideal identity instance John judgment kind language late later least less lines live Malvolio meaning Medieval Merchant of Venice Michigan moral motives nature never Night Olivia once particular perhaps play play's political Portia practical present Press pride problem Prospero question reason reference remains Renaissance response Saint Anthony scene Sebastian seems sense Shakespeare Shylock speaks spiritual stage Antonios Studies suggests Tempest trial true truth turn Twelfth Twelfth Night University Viola wisdom wise folly worldly York
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Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Rajoitettu esikatselu - 2008 |
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Rajoitettu esikatselu - 2008 |