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John Drakakis

. At the end of the play the lovers are free but it is questionable whether their suicidal disposing of themselves is what Eagleton, in a much more general consideration of tragedy, identifies as the ‘highest freedom’, which is ‘to opt for one’s own extinction’. Eagleton goes on to suggest that tragic heroism involves a mixture of ‘defiance and submission in equal measure, fusing rebellion and authority, will and law, spirit and nature’. He sees tragedy as ‘essentially a question of reconciliation’, 38 although in the

in Shakespeare’s resources
Theatre, form, meme and reciprocity
John Drakakis

whom he hath bin kind. Why do I over-live my selfe, to see The course of nature quite reverst in me? Ah, gentle Death, if ever any wight Did wish thy presence with a perfit zeale: Then come, my sorrowes with thy fatall dart. (10.856–66) Lear’s mental torture receives extended treatment in Shakespeare’s play, and his reconciliation with Cordelia comes much later than in the anonymous Leir . The True Chronicle Historie of King Leir was performed

in Shakespeare’s resources
John Drakakis

colonial discourse, to spread it out in this text, in an act of explication’. 42 In the case of The Tempest , its formal properties are exposed as being ideologically loaded, hence the importance of the play’s ‘comic closure’, that is regarded as necessary to enable the European ‘reconciliation’ which follows hard on its heels – the patching up of a minor dynastic dispute within the Italian nobility – [that] is, however, itself symptomatic of the text’s own anxiety about the threat posed

in Shakespeare’s resources

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

Antagonism, parallelism, and chiasmus
Angelika Zirker

locally (i.e. on the microstructural level) to portray his inner state, for Lucrece, it emphasizes her ability to bring contrasting forces to a reconciliation (at any rate before the rape). After Tarquin has entered her room, she is described in detail: Her hair, like golden threads, played with her breath, O modest wantons, wanton modesty

in William Shakespeare and John Donne
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Tamsin Badcoe

’s own surveyed field of vision: ‘with firme eyes affixt’, she ‘the ground still viewed’ (VII.vii.57), foregrounding the poem’s movement towards located stillness one final time. What is visible only within the compass of Nature’s singular gaze is, of course, beyond the scope of narrator and reader. For us, all appears as a ‘design still unfulfilled’, in which questing imaginations are invited to speculate, invent, and desire. 9 In one final reconciliation of contrasts, Nature is herself ‘ a-topos ’, vanishing at the canto’s close, ‘wither no man wist’ (VII. vii.59

in Edmund Spenser and the romance of space
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James Shirley’s The Traitor
Jessica Dyson

abdicating in favour of a new, more moderate, law-ruled monarch (Brome's The Queen and Concubine ). Such reconciliations to law and reason restore stability to the country. In Caroline tragedy, however, such destructive passions are not so straightforwardly contained. Rather, monarchs and patriarchs (domestic monarchs in contemporary father-king analogies) may initiate tragic plots by a potentially unwise or damaging act or decision but they are not, as is usual in Caroline tragicomedy, the driving force of the following catastrophe. Caroline tragedy explores the dangers

in The genres of Renaissance tragedy
William O’Neil

of the sword to inspire the Irish rebel to cultural assimilation. In Plate XII , dressed in the civilizing clothes of an English gentleman, Turlough Luineach O’Neill kneels in submission before Lord Deputy Sidney, again wearing the cap of state and civilian clothing, now sitting under the cloth of state and ‘presenting’ – that is, representing the Queen. The scene depicts a moment of reconciliation. O’Neill pledges allegiance to the Crown: ‘My Princes freende, I vowe my self to bee, / And loyall eke, unto her

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Go dare
Andy Kesson

self-evidently famous, the first edition of Hamlet sees the character pose a slightly different problem: ‘To be, or not to be, I there’s the point’. 10 For Jowett, the two different versions of this speech must raise questions about error and the reconciliation of variants: which version should an editor print? From Stern’s point of view, these versions underline the contingency of dramatic

in John Lyly and Early Modern Authorship
Carol Chillington Rutter

’s ‘grief’ – have staggered off, leaning on each other (III.xiii.146, 162). It’s in this fragile state of recovery that he has met Castile and patched up a (fake) reconciliation with Lorenzo (III.xiv.157), which leads directly to his access to Bel-imperia (which makes them conspirators, IV.i) and what follows, the invitation to supply some ‘entertainment of the ambassador’, some ‘show’ to grace her

in Doing Kyd