By Richard Dutton, Jean E. Howard
The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely entire image of present Shakespeare feedback. This quantity seems at Shakespeare’s tragedies.
- Contains unique essays on each Shakespearean tragedy from Titus Andronicus to Coriolanus.
- Includes 13 extra essays on such subject matters as Shakespeare's Roman tragedies, Shakespeare's tragedies on movie, Shakespeare's tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.
- Brings jointly new essays from a various, foreign staff of students.
- Complements David Scott Kastan's A spouse to Shakespeare (1999), which interested by Shakespeare as an writer in his old context.
- Offers a provocative roadmap to Shakespeare experiences.
Chapter 1 “A rarity such a lot beloved”: Shakespeare and the belief of Tragedy (pages 5–22): David Scott Kastan
Chapter 2 The Tragedies of Shakespeare's Contemporaries (pages 23–46): Martin Coyle
Chapter three Minds in corporation: Shakespearean Tragic feelings (pages 47–72): Katherine Rowe
Chapter five The Divided Tragic Hero (pages 73–94): Catherine Belsey
Chapter five Disjointed occasions and Half?Remembered Truths in Shakespearean Tragedy (pages 95–108): Philippa Berry
Chapter 6 studying Shakespeare's Tragedies of affection: Romeo and Juliet, Othello, and Antony and Cleopatra in Early sleek England (pages 108–133): Sasha Roberts
Chapter 7 Hamlet Productions Starring Beale, Hawke, and Darling From the viewpoint of functionality background (pages 134–157): Bernice W. Kliman
Chapter eight textual content and Tragedy (pages 158–177): Graham Holderness
Chapter nine Shakespearean Tragedy and non secular id (pages 178–198): Richard C. McCoy
Chapter 10 Shakespeare's Roman Tragedies (pages 199–218): Gordon Braden
Chapter eleven Tragedy and Geography (pages 219–240): Jerry Brotton
Chapter 12 vintage movie types of Shakespeare's Tragedies: A replicate for the days (pages 241–261): Kenneth S. Rothwell
Chapter thirteen modern movie types of the Tragedies (page 262): Mark Thornton Burnett
Chapter 14 Titus Andronicus: A Time for Race and Revenge (pages 284–302): Ian Smith
Chapter 15 “There isn't any international with no Verona walls”: town in Romeo and Juliet (pages 303–318): Naomi Conn Liebler
Chapter sixteen “He that thou knowest thine”: Friendship and repair in Hamlet (pages 319–338): Michael Neil
Chapter 17 Julius Caesar (pages 339–356): Rebecca W. Bushnell
Chapter 18 Othello and the matter of Blackness (pages 357–374): Kim F. Hall
Chapter 19 King Lear (pages 375–392): Kiernan Ryan
Chapter 20 Macbeth, the current, and the earlier (pages 393–410): Kathleen McLuskie
Chapter 21 The Politics of Empathy in Antony and Cleopatra: A View from under (pages 411–429): Jyotsna G. Singh
Chapter 22 Timon of Athens: The Dialectic of Usury, Nihilism, and paintings (pages 430–451): Hugh Grady
Chapter 23 Coriolanus and the Politics of Theatrical excitement (pages 452–472): Cynthia Marshall
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Additional resources for A Companion to Shakespeare's Works, Volume 1: The Tragedies
S. (1932) . Shakespeare and the Stoicism of Seneca. In Selected Essays, 1917–32. London: Faber and Faber. Everett, B. (1989). Young Hamlet: Essays on Shakespeare’s Tragedies. Oxford: Clarendon Press. 22 David Scott Kastan Frye, N. (1967). Fools of Time: Studies in Shakespearean Tragedy. Toronto: University of Toronto Press. Goldman, M. (1972). Shakespeare and the Energies of Drama. Princeton, NJ: Princeton University Press. Jaspers, K. (1952). Tragedy is Not Enough, trans. K. W. Deutsch. Boston, MA: Beacon Press.
Shall sickness prove me now to be a man, That have been term’d the terror of the world? 42–5) Such speeches provide tragedy with one of its set motifs, as Tamburlaine becomes an example of the limits of human achievement encased in mortal flesh. There is, though, nothing here of the language of repentance or last minute deathbed confession which were to become stock resources of the drama (Neill 1997: 207). Instead, what we have is still the language of classical conquest, with death and the gods as the mortal enemy.
This is clearly not the case in Othello, where unfulfilled desire threatens to spill over even as Othello is about to kill Desdemona: The Tragedies of Shakespeare’s Contemporaries 35 It is the cause, it is the cause, my soul – Let me not name it to you, you chaste stars – It is the cause. Yet I’ll not shed her blood, Nor scar that whiter skin of hers than snow And smooth as monumental alabaster. 1–5) The sensuous image of alabaster skin elides the gap between death and desire, making Desdemona both present and absent but also eroticizing the murder.