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Shakespeare's Tragedies by William Shakespeare Pdf
A collection containing Antony & Cleopatra, Coriolanus, Cymbeline, Julius Caesar, King Lear, Macbeth, Othello, Romeo and Juliet, The Life of Timon of Athens, The tragedy of Titus Andronicus, and The History of Troilus and Cressida.
Author : Maria L. Howell Publisher : University Press of America Page : 57 pages File Size : 51,9 Mb Release : 2008 Category : Drama ISBN : 9780761840749
Manhood and Masculine Identity in William Shakespeare's The Tragedy of Macbeth by Maria L. Howell Pdf
"Maria Howell's Manhood and Masculine Identity in William Shakespeare's "The Tragedy of Macbeth" is an important and compelling scholarly work which seeks to examine the sixteenth century's greatest concern, echoed by Hamlet himself, "What is a man?" In an attempt to analyze the concept of manhood in Macbeth, Howell explores the contradictions and ambiguities that underlie heroic notions of masculinity dramatized throughout the play. From Lady Macbeth's capacity to control and destroy Macbeth's masculine identity, to Macbeth himself, who corrupts his military prowess to become a ruthless and murderous tyrant, Howell demonstrates that heroic notions of masculinity not only reinforce masculine power and authority, paradoxically, these ideals are also the source of man's disempowerment and destruction. Howell argues that in an attempt to attain a higher principle, the means (violence and destruction) and the ends (justice and peace) become fused and indistinguishable, so that those values that inform man's actions for good no longer provide moral clarity. Howell's poignant and timely analysis of manhood and masculine identity in Shakespeare's Macbeth will no doubt resonate with readers today."--BOOK JACKET.
The Oxford Shakespeare: The Tragedy of Macbeth by William Shakespeare Pdf
Dark and violent, Macbeth is also the most theatrically spectacular of Shakespeare's tragedies. Indeed, for 250 years - until early this century - it was performed with grand operatic additions set to baroque music. In his introduction Nicholas Brooke relates the play's changing fortunes to changes within society and the theatre and investigates the sources of its enduring appeal. He examines its many layers of illusion and interprets its linguistic turns and echoes, arguing that the earliest surviving text is an adaptation, perhaps carried out by Shakespeare himself in collaboration with Thomas Middleton. This fully annotated edition reconsiders textual and staging problems, appraises past and present critical views, and represents a major contribution to our understanding of Macbeth. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Every generation develops its own approach to tragedy, attitudes successively influenced by such classic works as A. C. Bradley’s Shakespearean Tragedy and the studies in interpretation by G. Wilson Knight. A comprehensive new book on the subject by an author of the same calibre was long overdue. In his book, originally published in 1981, John Bayley discusses the Roman plays, Troilus and Cressida and Timon of Athens as well as the four major tragedies. He shows how Shakespeare’s most successful tragic effects hinge on an opposition between the discourses of character and form, role and context. For example, in Lear the dramatis personae act in the dramatic world of tragedy which demands universality and high rhetoric of them. Yet they are human and have their being in the prosaic world of domesticity and plain speaking. The inevitable intrusion of the human world into the world of tragedy creates the play’s powerful off-key effects. Similarly, the existential crisis in Macbeth can be understood in terms of the tension between accomplished action and the free-ranging domain of consciousness. What is the relation between being and acting? How does an audience become intimate with a protagonist who is alienated from his own play? What did Shakespeare add to the form and traditions of tragedy? Do his masterpieces in the genre disturb and transform it in unexpected ways? These are the issues raised by this lucid and imaginative study. Professor Bayley’s highly original rethinking of the problems will be a challenge to the Shakespearean scholar as well as an illumination to the general reader.
Shakespeare's Tragedy of MacBeth by William Shakespeare Pdf
Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: THE TRAGEDY OF MACBETH. PERSONS REPRESENTED. Duncan, King of Scotland. Malcolm, lhisSons. DONALBAIN, J Macbeth, ) Generals Of his Army. Banquo, J Macduff, Lennox, Ross, Menteth, Angus, Cathness, Fleance, Son to Banquo. SlWARD, Earl of Northumberland, General of the English forces. Thanes of Scotland. Young SlWARD, his Son. Seyton, an Officer attending on Macbeth. Boy, Son to Macduff. An English Doctor. A Scotch Doctor. A Soldier. A Porter. An old Man. Lady Macbeth. Lady Macduff. Gentlewoman attending on Lady Macbeth. Hecate, and Witches. Lords, Gentlemen, Officers, Soldiers, Murderers, Attendants, Messengers, and Apparitions. SCENE, in the end of the fourth Act, in England; through the rest of the Play, in Scotland, ACT I. Scene I. ? An Open Place. Thunder and lightning. Enter three Witches. z Witch. When shall we three meet again In thunder, lightning, and in rain ? 2 Witch. When the hurlyburly'sl done, When the battle's lost and won. 3 Witch. That will be ere th' set of Sun. / Witch. Where the place ? 2 Witch. Upon the heath. 3 Witch. There to meet with Macbeth. 1 Witch. / come, graymalkin 2 Witch. Paddock calls: ? Anon.'3 All. Fair is foul, and foul is fair: 4 Hover through the fog and filthy air. Exeunt. 1 The origin and sense of this word are thus given by Peacham in his Garden of Eloquence, 1577: Onomatopeia, when we invent, devise, fayne, and make a name imitating the sound of that it signifyeth, as hurlyburly, for an uprore and tumultuous stirre Thus also in Holinshed: There were such hurtle turtles kept in every place, to the great danger of overthrowing the whole state of all government in this land. 2 Graymalkin is an old name for a gray cat. ? Paddock is toad; and toadsto...
1908. From the Introduction: In these lectures I propose to consider the four principal tragedies of Shakespeare from a single point of view. Nothing will be said of Shakespeare's place in the history of either English literature or of the drama in general. No attempt will be made to compare him with other writers. I shall leave untouched, or merely glanced at, questions regarding his life and character, the development of his genius and art, the genuineness, sources, texts, interrelations of his various works. Even what may be called, in a restricted sense, the poetry of the four tragedies-the beauties of style, diction, versification-I shall pass by in silence. Our one object will be what, again in a restricted sense, may be called dramatic appreciation; to increase our understanding and enjoyment of these works as dramas; to learn to apprehend the action and some of the personages of each with a somewhat greater truth and intensity, so that they may assume in our imaginations a shape a little less unlike the shape they wore in the imagination of their creator.
The Cambridge Introduction to Shakespeare's Tragedies by Janette Dillon Pdf
Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shakespearean tragedy? Is it in fact helpful to talk about 'Shakespearean tragedy' as a concept, or are there only Shakespearean tragedies? What kind of figure is the tragic hero? Is there always such a figure? What makes some plays more tragic than others? Beginning with a discussion of tragedy before Shakespeare and considering Shakespeare's tragedies chronologically one by one, this 2007 book seeks to investigate such questions in a way that highlights both the distinctiveness and shared concerns of each play within the broad trajectory of Shakespeare's developing exploration of tragic form.
