The Masks of Anthony and CleopatraUniversity of Delaware Press, 2006 - Počet stran: 605 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. |
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Strana 47
... laugh ,. with white face and flaming hair , voluptuous gait and brazen gesture like a figure of Luxuria in a morality " has chased Anthony in ; or she has entered " in a Roman helmet , playfully wielding a sword in a by - play with her ...
... laugh ,. with white face and flaming hair , voluptuous gait and brazen gesture like a figure of Luxuria in a morality " has chased Anthony in ; or she has entered " in a Roman helmet , playfully wielding a sword in a by - play with her ...
Strana 51
... laugh has preceded her entrance , setting a festive mood . In her presence everyone ( except the two watching Romans , and they cannot hide their wonder ) blooms . Her whole train . On the nineteenth - century stage many figures began ...
... laugh has preceded her entrance , setting a festive mood . In her presence everyone ( except the two watching Romans , and they cannot hide their wonder ) blooms . Her whole train . On the nineteenth - century stage many figures began ...
Strana 59
... laughing in retreat ; has put a ring of flowers around his neck ; has bellied up to him to try to smother his resistance ; he has pursued her , she flittering away when he tries to hold her and he must catch her ; he has embraced her ...
... laughing in retreat ; has put a ring of flowers around his neck ; has bellied up to him to try to smother his resistance ; he has pursued her , she flittering away when he tries to hold her and he must catch her ; he has embraced her ...
Strana 63
... laugh is always a great temptation in the theatre . Some critics , too , have seen mainly comedy in the first acts , and blame Shakespeare for a failure in dramatic unity . Humor may indeed color confrontation here , as it does in all ...
... laugh is always a great temptation in the theatre . Some critics , too , have seen mainly comedy in the first acts , and blame Shakespeare for a failure in dramatic unity . Humor may indeed color confrontation here , as it does in all ...
Strana 64
... laugh At gilded butterflies , and hear poor rogues Talk of court news ; and we'll talk with them too , A Nay , who senses covert watching ( and mockery ? ) in this proposed observation of the populace by their rulers , may wonder why ...
... laugh At gilded butterflies , and hear poor rogues Talk of court news ; and we'll talk with them too , A Nay , who senses covert watching ( and mockery ? ) in this proposed observation of the populace by their rulers , may wonder why ...
Obsah
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 |
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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
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Strana 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.
Strana 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.
Strana 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...
Strana 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.
Strana 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.
Strana 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.
Strana 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.
Strana 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.
Strana 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.