The Adventures of a Shakespeare Scholar: To Discover Shakespeare's Art, Volume 10Rarely does a scholar single-handedly point Shakespeare study in a new direction. But in the 1950s, when brilliant insights were being achieved in Shakespeare's language, and a few theatre historians were recording stagings and stage business, Marvin Rosenberg led the way to a wider perspective of the poet-playwright's genius. He insisted that Shakespeare's art fused poetry-of-the-word with poetry-of-the-theatre, each illuminating the other inseparably. |
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... visual - aural fusions of the great plays , he chose the most complexly challeng- ing : the major tragedies . One after another appeared the books so highly valued now , all in print : The Masks of Othello , The Masks of King Lear , The ...
... visual - aural fusions of the great plays , he chose the most complexly challeng- ing : the major tragedies . One after another appeared the books so highly valued now , all in print : The Masks of Othello , The Masks of King Lear , The ...
Page 8
... Visual Compositions ( The Folger Shakespeare Library , 1987 ) 197 19. Subtext in Shakespeare ( World Shakespeare Conference , Stratford , 1981 ) 200 20. Shakespeare's Tragic World of If ( In Shakespeare Jahrbuch , Heidelberg , 1980 ) ...
... Visual Compositions ( The Folger Shakespeare Library , 1987 ) 197 19. Subtext in Shakespeare ( World Shakespeare Conference , Stratford , 1981 ) 200 20. Shakespeare's Tragic World of If ( In Shakespeare Jahrbuch , Heidelberg , 1980 ) ...
Page 11
... visual implications , which yielded important results for interpretation both in the study and on the boards . Typically , Rosenberg adopts a new point of view , focusing on familiar materials from a different angle , that allows us to ...
... visual implications , which yielded important results for interpretation both in the study and on the boards . Typically , Rosenberg adopts a new point of view , focusing on familiar materials from a different angle , that allows us to ...
Page 19
... visual images and motifs ( see Chapter 18 , " Shakespeare's Visual Compositions " ) . I gave much thought to Shakespeare's visual and aural dialogue , as well as to the verbal , because I felt I could not fully comprehend Shake ...
... visual images and motifs ( see Chapter 18 , " Shakespeare's Visual Compositions " ) . I gave much thought to Shakespeare's visual and aural dialogue , as well as to the verbal , because I felt I could not fully comprehend Shake ...
Page 22
... visual fix on the tenuous variability of the characters ? A picture of their polyphony ? I am trying . I have always enjoyed experiments ; this one is still in the laboratory stage , and I will welcome suggestions ( see Chapter 12 ...
... visual fix on the tenuous variability of the characters ? A picture of their polyphony ? I am trying . I have always enjoyed experiments ; this one is still in the laboratory stage , and I will welcome suggestions ( see Chapter 12 ...
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Common terms and phrases
action actors aesthetic ambiguity Angelo arousal artistic asked audience Banquo Cassio character characterization child Claudius colleagues comedy complex contextual Cordelia critics David Garrick death Desdemona drama Duke Edgar eighteenth century Elizabethan emotional essay experience eyes fantasy father feel Fool Garrick Gertrude gestures Gloster Hall hero human Iago Iago's imagery imagine impulses Isabella Kemble kill kind King Lear Lady Macbeth Laertes language Lear's learned linear lines look Masks Measure for Measure mind Modern Language Association motivation moved murder Ophelia Othello passion patterns performance perhaps personality play play's playwright poetry Polonius polyphony power Hamlet rehearsals response role Salvini scene scholars Scofield seems sense sexual Shake Shakespeare Conference shock soliloquy sometimes sound speak speare's spectators speech stage Stratford subtext suggest sweet Hamlet symbolic theater thing thou thought tion tragedy tragic tragic heroes verbal videotape visual voice words
Popular passages
Page 108 - O, reason not the need ! our basest beggars Are in the poorest thing superfluous : Allow not nature more than nature needs, Man's life is cheap, as beast's : thou art a lady ; If only to go warm were gorgeous, Why, nature needs not what thou gorgeous wear'st, Which scarcely keeps thee warm.
Page 106 - Hear, nature, hear ; dear goddess, hear ! — Suspend thy purpose, if thou didst intend To make this creature fruitful ! Into her womb convey sterility ! Dry up in her the organs of increase ; And from her derogate body never spring A babe to honour her ! If she must teem, Create her child of spleen ; that it may live, And be a thwart disnatured torment to her...
Page 110 - Poor naked wretches, wheresoe'er you are, That bide the pelting of this pitiless storm, How shall your houseless heads, and unfed sides, Your loop'd and window'd raggedness, defend you From seasons such as these...
Page 125 - Which would be worn now in their newest gloss, Not cast aside so soon. Lady M. Was the hope drunk Wherein you dress'd yourself? hath it slept since, And wakes it now, to look so green and pale At what it did so freely ? From this time Such I account thy love. Art thou...
Page 98 - From too much liberty, my Lucio, liberty ; As surfeit is the father of much fast, So every scope by the immoderate use Turns to restraint; our natures do pursue (Like rats that ravin down their proper bane,) A thirsty evil ; and when we drinK, we die.
Page 290 - I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ.
Page 209 - Sir, I love you more than words can wield the matter; Dearer than eyesight, space, and liberty; Beyond what can be valued, rich or rare...