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. |
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Tulokset 1 - 3 kokonaismäärästä 23
Sivu 89
... remains far from straightforward . Teasing out its subtleties confirms that , though prob- lematic , his character , action , and values compose the play's moral center , at once eclipsing and providing a measure for the conduct of ...
... remains far from straightforward . Teasing out its subtleties confirms that , though prob- lematic , his character , action , and values compose the play's moral center , at once eclipsing and providing a measure for the conduct of ...
Sivu 97
... remains at liberty to roam , reflects on the nature of true ser- vice . Antonio seemingly lacks guile to wriggle out of his shackles ; he is simply enduring the consequences of his earlier openness : For his sake Did I expose myself ...
... remains at liberty to roam , reflects on the nature of true ser- vice . Antonio seemingly lacks guile to wriggle out of his shackles ; he is simply enduring the consequences of his earlier openness : For his sake Did I expose myself ...
Sivu 119
... remains silent until the scene's end , and it insists , through Philo's repeated imperatives , that audiences formulate their own opinions about what they , along with Demetrius , are witnessing : Look where they come ! Take but good ...
... remains silent until the scene's end , and it insists , through Philo's repeated imperatives , that audiences formulate their own opinions about what they , along with Demetrius , are witnessing : Look where they come ! Take but good ...
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
Viitteet tähän teokseen
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 |