Search results

Abstract only
The Far East and the limits of representation in the theatre, 1621–2002
Gordon McMullan

Trinculo from those of Caliban does not diminish his reading of the latter as monstrous. In Othello , Mandevillian monstrosity emerges more subtly, remaining rhetorical until the orator turns out himself to be the monster. Othello recounts to the Duke and senators the conversations he had with Desdemona that made her fall for him, in which he had spoken of being

in A knight’s legacy
Abstract only
On with The Knight’s Tale
Helen Barr

power. Hounded by dogs that recall those that Ariel conjures up in The Tempest to bait the would-be usurping trio of Trinculo, Stephano and Caliban, the stag is killed in a tempestuous finale.32 Foresters command the audiences, both on stage and off, to ‘[s]ee the Stag’s head which so did spread his bream / The small trees did seem to envy him’. 33 The antlers of the dead stag are a political and theatrical trophy. Envied by the small trees, the ten-branched antlers form a puny contrast to the emblem of Charles II as the Royal Oak.34 The Rivals creates a version of

in Transporting Chaucer
Christopher Abram

-Saxon fenland (Oxford: Windgather, 2017). 20 Quoted by E. Mansel Sympson, Lincolnshire (Cambridge: Cambridge University Press, 1913), p. 54; William Shakespeare, King Lear , Act II, scene iv, line 162. On Shakespeare's knowledge and deployment of the fens in his dramas, see Todd Andrew Borlik, ‘Caliban and the fen demons of Lincolnshire: the Englishness of Shakespeare's Tempest ’, Shakespeare , 9 (2013), 21

in Dating Beowulf