By Richard Dutton, Jean E. Howard
This four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely accomplished photo of present Shakespeare feedback.
* Brings jointly new essays from a mix of more youthful and extra proven students from around the globe - Australia, Canada, France, New Zealand, the uk, and the U.S..
* Examines every one of Shakespeare’s performs and significant poems, utilizing the entire assets of up to date feedback, from functionality reviews to feminist, historicist, and textual research.
* Volumes are prepared in terms of general different types: specifically the histories, the tragedies, the romantic comedies, and the past due performs, challenge performs and poems.
* each one quantity comprises person essays on all texts within the suitable class, in addition to extra basic essays taking a look at severe concerns and techniques extra greatly correct to the style.
* deals a provocative roadmap to Shakespeare experiences on the dawning of the twenty-first century.
This better half 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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Additional resources for A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture)
Sample text
197–200) The speech does not just convey the notion of wasted potential, something evident in many tragedies. It is also about the terror of life after death, a life which cannot be changed or altered. Whatever closure is provided by the play’s ending, here we become aware that the tragedy runs on afterwards, that death is not the end. As Dollimore notes (1991: 131), plays after Faustus interrogate religious issues less directly, but they are no less haunted by the question of what lies beyond death, the question why death is not an end.
London: Methuen. McIlwain, C. H. ) (1918). Political Works of James I. Cambridge, MA: Harvard University Press. Mans, K. (1995). Inwardness and Theater in the English Renaissance. Chicago, IL: University of Chicago Press. Mehl, D. (1986). Shakespeare’s Tragedies: An Introduction. Cambridge: Cambridge University Press. Michel, L. (1956). The Possibility of Christian Tragedy. Thought, 31, 403–28. Miola, R. S. (1992). Shakespeare and Classical Tragedy. Oxford: Clarendon Press. Muir, K. (1972). Shakespeare’s Tragic Sequence.
The most disturbing examples of this kind of switching are perhaps Iago’s asides in Othello, where the audience may be unsure how to respond to his cynicism. But switching works in various other ways, too. At a structural level, we can instance the use of multiple plots for changing perspective, as in Middleton’s The Changeling, or the interpolation of comic scenes in Doctor Faustus, while at a textual level there is the interrogative pastiche of The Revenger’s Tragedy and its macabre dressing up of the dead.