Henry V, War Criminal?: And Other Shakespeare PuzzlesOxford University Press, 2000 - 220 pagini 'Shakespeare loves loose ends; Shakespeare also loves red herrings.' Stephen Orgel Loose ends and red herrings are the stuff of detective fiction, and under the scrutiny of master sleuths John Sutherland and Cedric Watts Shakespeare's plays reveal themselves to be as full of mysteries as any Agatha Christie novel. Is it summer or winter in Elsinore? Do Bottom and Titania makelove? Does Lady Macbeth faint, or is she just pretending? How does a man putrefy within minutes of his death? Is Cleopatra a deadbeat Mum? And why doesn't Juliet ask 'O Romeo Montague, wherefore art thou Montague?' As Watts and Sutherland explore these and other puzzles Shakespeare's genuius becomes ever more apparent. Speculative, critical, good-humoured and provocative, their discussions shed light on apparent anachronisms, perfromance and stagecraft, linguistics, Star Trek and much else. Shrewd andentertaining, these essays add a new dimension to the pleasure of reading or watching Shakespeare. 'Few modern academics are doing quite so much as Professor Sutherland to connect the "common reader" with great books' Independent |
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Pagina vi
... — and will she stay one ? 154 The Merchant of Venice Muddle or method ? 162 Troilus and Cressida The mystery of the putrefièd corpse Troilus and Cressida 168 Shakespeare's feminist play ? Love's Labour's Lost 174 184 Why vi Contents.
... — and will she stay one ? 154 The Merchant of Venice Muddle or method ? 162 Troilus and Cressida The mystery of the putrefièd corpse Troilus and Cressida 168 Shakespeare's feminist play ? Love's Labour's Lost 174 184 Why vi Contents.
Pagina vii
And Other Shakespeare Puzzles John Sutherland, Cedric Watts. Shakespeare's feminist play ? Love's Labour's Lost 174 184 Why does the Duke leave town ? Measure for Measure Why Barnardine ? and : Angelo : guide to sanity ? 190 Measure for ...
And Other Shakespeare Puzzles John Sutherland, Cedric Watts. Shakespeare's feminist play ? Love's Labour's Lost 174 184 Why does the Duke leave town ? Measure for Measure Why Barnardine ? and : Angelo : guide to sanity ? 190 Measure for ...
Pagina ix
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Pagina xvi
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Pagina 174
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Cuprins
The watch on the centurions wrist | 7 |
Desdemonas posthumous speeches | 31 |
Poor Toms a yokel? | 46 |
feint or faint? | 65 |
REAL OR PRETEND III Does Cleopatra really care about | 72 |
How much time did Richard waste? | 85 |
whats the issue? 90 | 99 |
valid or invalid? | 117 |
vengeful or reconciled? | 131 |
Why is Shylock unmusical? | 148 |
Muddle or method? | 162 |
Shakespeares feminist play? | 174 |
Angelo guide to sanity? | 190 |
Notes | 203 |
Termeni și expresii frecvente
A. C. Bradley Amleth Angelo Antonio apparently Armado audience Barnardine Bassanio battle Bolingbroke Bottom Caesar Caesarion Cassio character Claudius Cleopatra clock comedy Cordelia course death Desdemona Dover Wilson Duke Duke's Edgar edited in Oxford Elizabethan Emilia Falstaff father film Francis French Ghost Gloucester Hamlet handkerchief hath heaven Hector Hotspur Iago Iago's Jaquenetta Juliet kill King Lear king's lady lines London Lord Love's Labour's Lost Love's Labour's Won Macbeth Malvolio marriage means Measure for Measure modern Mowbray murder Oberon Olivia Ophelia Orsino Othello Oxford World's Classics perhaps play's Portia prisoners puzzle queen remarks repr revenge Richard Richard II Romeo says scene seems sense sexual Shakespeare Criticism Shakespeare's play Shakespearian Shylock speech stage suggested tell theatre thee there's Theseus thou Titania Titus Titus Andronicus Tragedy Troilus and Cressida Twelfth Night Venice Viola Woodstock words
Referințe la această carte
A Companion to Shakespeare's Works: The Histories Richard Dutton,Jean E. Howard Nu există previzualizare disponibilă - 2003 |