Feminine fury and the contagiousness of theatrical passion
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: Shakespeareantragic
emotions ’, in A Companion to
Shakespeare’s Works, vol. 1: The
Reflections on the narrative mode of Fools of Fortune
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 Shakespeareantragic 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
The Merchant of Venice, Measure for Measure, Twelfth Night
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 Shakespeareantragic causes – disillusion, in justice – is shifted onto the
: Clarendon, 1971),
On this three-part structure of
Macbeth , see Jones, Scenic Form ,
195–224. On Shakespeareantragic structure as three
stages of self-discovery, see M. Mack, ‘The Jacobean
Shakespeare: Some Observations of the Construction of the
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 ShakespeareanTragic , 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