The Masks of Anthony and CleopatraUniversity of Delaware Press, 2006 - 605 pàgines A sensitive and penetrating analysis, scene by scene, act by act, of this most complex and ambiguous of Shakespeare's great plays, seen through the eyes of both the literary critic and the student of theatrical history. As in his earlier Masks books, Marvin Rosenberg has gathered impressions from performance reviews from all over the world, comments by actors and directors, and his own personal experience of the play in rehearsal and staging, and has combined these insights with extensive reading of critical essays and consideration of the thoughts and opinions of his literary colleagues to form an illuminating interpretive study. The book also conveys the author's wholehearted enthusiasm for the play and his profound appreciation of Shakespeare's poetic and dramatic genius. The book, left unfinished at Dr Rosenberg's death in 2003, was edited and completed by his wife, Mary. |
Des de l'interior del llibre
Resultats 1 - 5 de 72.
Pàgina 19
... London and Stratford to do it . I am happy to remember that , during that visit , Marvin was able to meet up with many of these wonderful , longtime friends - Shinji , Lindsay , Kate and David and their daughter Lucy - and to share with ...
... London and Stratford to do it . I am happy to remember that , during that visit , Marvin was able to meet up with many of these wonderful , longtime friends - Shinji , Lindsay , Kate and David and their daughter Lucy - and to share with ...
Pàgina 22
... London in 1629 , he made the mistake , among other extravagances , of calling women who appeared on the stage " notorious whores . " " The reference was taken to apply to Queen Henrietta and her ladies who were about to perform a ...
... London in 1629 , he made the mistake , among other extravagances , of calling women who appeared on the stage " notorious whores . " " The reference was taken to apply to Queen Henrietta and her ladies who were about to perform a ...
Pàgina 23
... London children's company . Boy actors for Shakespeare certainly played his young girls and little fairies ( Prynne inveighed against them too ) . Cleopatra's maids , Charmian and Iras , may have been acted by teenage veterans ...
... London children's company . Boy actors for Shakespeare certainly played his young girls and little fairies ( Prynne inveighed against them too ) . Cleopatra's maids , Charmian and Iras , may have been acted by teenage veterans ...
Pàgina 49
... London theatre . Great spectacle was indeed at the time available indoors , as Ben Jonson and Inigo Jones demonstrated at the palace ; but their masques were mainly show , built around symbolic language . In this play , Shakespeare ...
... London theatre . Great spectacle was indeed at the time available indoors , as Ben Jonson and Inigo Jones demonstrated at the palace ; but their masques were mainly show , built around symbolic language . In this play , Shakespeare ...
Pàgina 85
... London parade was held in honor of the city's Fishmongers , the emblem chosen to represent their quality and generosity was ' the King of Moors , gallantly mounted on a Golden Leopard , he hurling gold and silver every way about him ...
... London parade was held in honor of the city's Fishmongers , the emblem chosen to represent their quality and generosity was ' the King of Moors , gallantly mounted on a Golden Leopard , he hurling gold and silver every way about him ...
Continguts
41 | |
70 | |
80 | |
86 | |
Act I Scene iii | 104 |
Octavius | 118 |
Act I Scene iv | 123 |
Act I Scene v | 133 |
Act III Scene xiii | 293 |
Act Four | 315 |
Act IV Scene i | 317 |
Act IV Scene ii | 320 |
Act IV Scene iii | 326 |
Act IV Scene iv | 329 |
Act IV Scene v | 335 |
Act IV Scene vi | 337 |
Act Two | 143 |
Act II Scene i | 145 |
Act II Scene ii | 151 |
Act II Scene iii | 174 |
Act II Scene iv | 180 |
Act II Scene v | 181 |
Act II Scene vi | 197 |
Act II Scene vii | 207 |
Act Three | 225 |
Act III Scene i | 227 |
Act III Scene ii | 231 |
Act III Scene iii | 239 |
Act III Scene iv | 246 |
Act III Scene v | 251 |
Act III Scene vi | 254 |
Act III Scene vii | 262 |
Act III Scenes viii ix and x | 272 |
Act III Scene xi | 278 |
Act III Scene xii | 288 |
Act IV Scene vii | 341 |
Act IV Scene viii | 344 |
Act IV Scene ix | 349 |
Act IV Scenes x xi xii and xiii | 352 |
Act IV Scene xiv | 362 |
Act IV Scene xv | 379 |
Act Five | 393 |
Act V Scene i | 395 |
Act V Scene ii | 403 |
Is Anthony and Cleopatra a Tragedy? | 473 |
Epilogue | 480 |
A Note on the Historical Cleopatra 69 BC30 BC | 482 |
Critical and Theatrical Bibliographies | 489 |
Critical Bibliography | 491 |
Theatrical Bibliography | 532 |
Tributes from Marvin Rosenbergs Colleagues and Friends | 595 |
Index | 597 |
Altres edicions - Mostra-ho tot
Frases i termes més freqüents
Actium actor Agrippa Alexas Anthony Anthony's Antony and Cleopatra April April 29 arms audience August August 16 battle Bevington Birmingham Mail Birmingham Post body Caesar characters Charmian Cleo Clown Daily Telegraph death director Dolabella edited Egypt Egyptian emotion Enobarbus Enobarbus's Enter Eros Exeunt exit fear feel final Folio Fulvia gestures give hand hear heart imagining reader Iras Julius Caesar July kiss language laugh Lepidus London look lovers Maecenas Mardian Marvin Menas Messenger Nay critic noble November Octavius October Othello Parthia passion patra Philo play Plutarch polyphony Pompey Pompey's Proculeius Queen Reviews Roman Rome Scarus scene seems sense sexual Shake Shakespeare wanted share soldiers sometimes Soothsayer sound speak speare speech stage Stratford subtext suggests surely sword tell Theatre thee Thidias thou thought touch Tragedy triumph University Press Ventidius voice woman women words York
Passatges populars
Pàgina 167 - The barge she sat in, like a burnish'd throne, Burn'd on the water ; the poop was beaten gold, Purple the sails, and so perfumed that The winds were love-sick with them, the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes.
Pàgina 170 - Age cannot wither her, nor custom stale Her infinite variety : other women cloy The appetites they feed, but she makes hungry, Where most she satisfies ; for vilest things Become themselves in her, that the holy priests Bless her when she is riggish.
Pàgina 64 - I'll kneel down, And ask of thee forgiveness. So we'll live, And pray, and sing, and tell old tales, and laugh At gilded butterflies, and hear poor rogues Talk of court news ; and we'll talk with them too, Who loses,- and who wins ; who's in, who's out ; And take...
Pàgina 211 - It is shaped, sir, like itself, and it is as broad as it hath breadth ; it is just so high as it is, and moves with it own organs ; it lives by that which nourisheth it ; and the elements once out of it, it transmigrates.
Pàgina 129 - Which beasts would cough at ; thy palate then did deign The roughest berry on the rudest hedge ; Yea, like the stag, when snow the pasture sheets, The barks of trees thou browsed'st ; on the Alps It is reported thou didst eat strange flesh, Which some did die to look on ; and all this, It wounds thine honour that I speak it now, Was borne so like a soldier, that thy cheek So much as lank'd not.
Pàgina 62 - Of the rang'd empire fall ! Here is my space. Kingdoms are clay: our dungy earth alike Feeds beast as man : the nobleness of life Is, to do thus; when such a mutual pair, And such a twain can do 't, in which I bind, On pain of punishment, the world to weet We stand up peerless.
Pàgina 24 - Our women are defective, and so sized, You'd think they were some of the guard disguised ; For to speak truth, men act, that are between Forty and fifty, wenches of fifteen ; With bone so large, and nerve so incompliant, When you call Desdemona, enter giant.
Pàgina 146 - We, ignorant of ourselves, Beg often our own harms, which the wise powers Deny us for our good ; so find we profit, By losing of our prayers.
Pàgina 303 - But when we in our viciousness grow hard, (O misery on't !) the wise gods seel our eyes ; In our own filth drop our clear judgments ; make us Adore our errors ; laugh at us, while we strut To our confusion.