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Feminine fury and the contagiousness of theatrical passion
Kristine Steenbergh

Modern England: Justice and Political Power, 1558–1660 ( Cambridge : Cambridge University Press , 2004 ). Roach , J. R. , The Player’s Passion: Studies in the Science of Acting ( Ann Arbor : University of Michigan Press , 1993 ). Rowe , K. , ‘ Minds in company: Shakespearean tragic emotions ’, in A Companion to Shakespeare’s Works, vol. 1: The

in Doing Kyd
Reflections on the narrative mode of Fools of Fortune
Michael O’Neill

that calls forth a self-defining answer. The phrase ‘as little chance for any one of us’ has as its most evident meaning the idea that all three are ‘fools of fortune’. But it also suggests that, in each case, they have been taken out of the world of ‘chance’ into a place where they are chosen by (and yet also choose) their destiny. The novel’s engagement with Shakespearean tragic drama is here most apparent. The ending is a space of duplicitous possibility: if Willie and Marianne are fugitives from an awareness of fatedness, the novel makes it clear such an impulse

in William Trevor
The Merchant of Venice, Measure for Measure, Twelfth Night
Richard Hillman

symbolically is obviated by comic plot mechanisms. Certainly, the Law of Mercy is given its eloquent spokesperson in Portia-Bellario (anticipating Isabella in Measure for Measure ), but the lawyer’s trick by which she applies it merely justifies Antonio as a purely innocent victim of diabolical malice. His argosies are subsequently restored by a dramatic universe complicit with the magic of Belmont. The entire weight of fallen human nature, the capacity for suffering from the standard Shakespearean tragic causes – disillusion, in justice – is shifted onto the

in The Shakespearean comic and tragicomic
Revealing the unconscious in chiastic symmetry
Robert Lanier Reid

: Clarendon, 1971), 195–224. 72 On this three-part structure of Macbeth , see Jones, Scenic Form , 195–224. On Shakespearean tragic structure as three stages of self-discovery, see M. Mack, ‘The Jacobean Shakespeare: Some Observations of the Construction of the

in Renaissance psychologies
Abstract only
Richard Hillman

relation to Shakespeare’s Othello and Antony and Cleopatra , respectively. See Hillman, French Origins of English Tragedy , pp. 76–7, and French Reflections in the Shakespearean Tragic , pp. 97–105. 16 See T. E. Lawrenson, ‘La mise en scène dans l’ Arimène de Nicolas de Montreux’, Bibliothèque d’Humanisme et Renaissance , 18 (1956), 286–90. La Diane , too, affords some spectacular effects, for instance, in Elymant’s protracted conjuring sequence (Montreux, La Diane , II.ii.1838–1991). 17 La Diane , therefore, is double the length of the standard

in The Shakespearean comic and tragicomic