By Richard Dutton, Jean E. Howard
This four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely finished photograph of present Shakespeare feedback.
* Brings jointly new essays from a mix of more youthful and extra verified students from world wide - Australia, Canada, France, New Zealand, the uk, and the U.S..
* Examines each one of Shakespeare’s performs and significant poems, utilizing the entire assets of latest feedback, from functionality stories to feminist, historicist, and textual research.
* Volumes are geared up relating to general different types: particularly the histories, the tragedies, the romantic comedies, and the overdue performs, challenge performs and poems.
* every one quantity includes person essays on all texts within the appropriate type, in addition to extra common essays serious concerns and methods extra commonly suitable to the style.
* bargains a provocative roadmap to Shakespeare reviews on the dawning of the twenty-first century.
This significant other to Shakespeare’s tragedies includes unique essays on each tragedy from Titus Andronicus to Coriolanus in addition to 13 extra essays on such themes as Shakespeare’s Roman tragedies, Shakespeare’s tragedies on movie, Shakespeare’s tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.
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Extra info for A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture)
Pp. 79–101. Jaspers (1952: 38). In the mid-twentieth century there was much discussion of the tensions between tragedy and Christian thought; see, for example, Laurence Michel’s “The Possibility of Christian Tragedy” (1956: 403–28). Recent theorists of tragedy have largely been uninterested in the question, presumably as the incompatibility seems so apparent. But for an age in which religious thought was so central, even as the Reformation fractured the sense of security that it might offer, tragedy must have been viewed in some relation to the belief in a just and merciful God, if only as a heuristic model of an existence in God’s absence.
Pleynet, M. (1968). Théorie d’ensemble. Paris: Seuil. Poole, A. (1987). Tragedy: Shakespeare and the Greek Example. Oxford: Blackwell. Reiss, T. (1980). Tragedy and Truth: Studies in the Development of a Renaissance and Neo-classical Discourse. New Haven, CT: Yale University Press. Robinson, F. N. ) (1957). The Works of Geoffrey Chaucer, 2nd edn. Boston, MA: Houghton Mifflin. Snyder, S. (1979). The Comic Matrix of Shakespeare’s Tragedies. Princeton, NJ: Princeton University Press. Waith, E. (1950).
Where the former is associated with the freeflowing, glittering water of the fountain, the latter is compared to a prison. By contrast again, when the Duchess determines to marry Antonio she speaks of going into a wilderness, beyond the confines of her brothers’ rule, while also stressing the ambivalence of her action: The misery of us that are born great – We are forced to woo, because none dare woo us, And as a tyrant doubles with his words, And fearfully equivocates, so we Are forced to express our violent passions In riddles, and in dreams, and leave the path Of simple virtue which was never made To seem the thing it is not.
A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture) by Richard Dutton, Jean E. Howard