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French inflections
Author: Richard Hillman

This book discusses Shakespeare’s deployment of French material within genres whose dominant Italian models and affinities might seem to leave little scope for French ones. It proposes specific, and unsuspected, points of contact but also a broad tendency to draw on French intertexts, both dramatic and non-dramatic, to inflect comic forms in potentially tragic directions. The resulting tensions within the genre are evident from the earliest comedies to the latest tragicomedies (or ‘romances’). An introduction establishes the French inflection of Italian modes and models, beginning with The Taming of the Shrew, as a compositional paradigm and the basis for an intertextual critical approach. Next, A Midsummer Night’s Dream is related to three French intertexts highlighting, respectively, its use of pastoral dramatic convention, its colouration by the histoire tragique and its parodic dramatisation of the Pyramus and Thisbe story. The third chapter interrogates the ‘French’ settings found in the romantic comedies, while the fourth applies French intertexts to three middle-to-late comedies as experiments in tragicomedy. Finally, the distinctive form given tragicomedy (or ‘romance’) in Shakespeare’s late production is set against the evolution of tragicomedy in France and related to French intertexts that shed new light on the generic synthesis achieved—and the degree of bricolage employed in achieving it.

Peter Barry

avoids the problems frequently encountered in ‘straight’ Marxist criticism: it seems less overtly polemical and more willing to allow the historical evidence its own voice. STOP and THINK ‘Doing’ new historicism essentially involves the juxtaposition of literary material with contemporary non-literary texts. But how would you attempt to set about doing this yourself, rather than just reading published essays which use this formula? For instance, if you wished to use the new historicist method for an essay about, say, a Shakespeare comedy where would you look

in Beginning theory (fourth edition)
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Peter Barry

the sonnet and the iambic pentameter are a counterpart of social stability, decorum, and order. Marxist criticism: an example As an example of Marxist criticism we will take chapter five, on Twelfth Night , in Elliot Krieger's A Marxist Study of Shakespeare's Comedies (1979). As it is discussed here, the example mainly shows the first of the five Marxist critical activities just listed. The play centres on the love between the Duke Orsino and the Lady Olivia. His love is extravagantly and persistently expressed, but she at first rejects him, having dedicated

in Beginning theory (fourth edition)
Cora Fox

is only averted by the Pages’ decision to dictate a joyful resolution through speech acts generating positive affects. Page says ‘God give thee joy’ (5.5.230) and Mistress Page ‘God give you many, many merry days!’ and they facilitate the ritual of the festive meal to which all have been invited when they leave the stage. While many of Shakespeare's comedies conclude with the suggestion that the generic resolution of the comedy in marriage is a particularly fictitious and fragile imagined social construct, Merry Wives contains no such suggestion, even though both

in Positive emotions in early modern literature and culture
Rewriting Shakespeare in A Poem upon the Death of O. C.
Alex Garganigo

France, trans. ed. Grimstone (London, 1612), p. 117; L. de Vega, The Pilgrim of Casteele, trans. W. Dutton (London, 1621), 220 garganigo: marvell’s personal elegy? p. 31; W. Shakespeare, Comedies, Histories, & Tragedies (London, 1623), p. 72; W. Shakespeare, Comedies, Histories, & Tragedies (London, 1632), p. 72; F. Quarles, ‘On the Contingencie of Actions’, in Divine Fancies (London, 1633), p. 2; W. Strode, The Floating Island: A Tragicomedy, 4.13 (1636; London, 1655), E3r; Gilbert Saulnier Du Verdier, The Love and Armes of the Greeke Princes, trans. Philip, Earl of

in Texts and readers in the Age of Marvell
Grace Ioppolo

–141. 50 The Tragicall Historie of Hamlet (London: I. R. for N. L, 1604), sig. F4v; Mr William Shakespeares Comedies, Histories, & Tragedies (London: Isaac Jaggard and Ed. Blount, 1623); The Tragicall Historie of Hamlet (London: N. L and Iohn Trundell, 1603), sig. E4v. 51 Bate implausibly argues that

in Essex
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Shakespeare’s shifting sonnets. From Love’s Labour’s Lost to The Passionate Pilgrim
Sophie Chiari

). 40 W. Shakespeare, Mr. William Shakespeares Comedies, Histories, & Tragedies: Published According to the True Originall Copies (London: 1623), sig. A3. 41 P. Hyland, An Introduction to Shakespeare’s Poems (New

in The early modern English sonnet
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Producing theatrical classics with a decorative aesthetic
Billy Smart

availability of a location dictated the choice of play, as with the 1975 Love’s Labour’s Lost , one of Shakespeare’s least performed and hardest to follow plays: ‘Well, we wanted to do another Shakespeare comedy. And I particularly wanted a play that was set in the open air. In this, all the action takes place in the open air. We recorded it at Glyndebourne. It looks lovely. All the girls are very, very

in Screen plays
William Rawley and Francis Bacon
Angus Vine

I and VI (Oxford: Oxford University Press, 2009), pp. 53–5. 46 L. Jardine and A. Stewart, Hostage to Fortune: The Troubled Life of Francis Bacon (London: Victor Gollancz, 1998), p. 521. 47 LPL, MS 2086, fol. 41r. 48 See Mr. William Shakespeares, Comedies, Histories, & Tragedies. Published according to the True Originall Copies (1623), sig. A3r: ‘we pray you do not envie his Friends, the office of their care, and paine, to haue collected & publish’d them; and so to haue publish’d them, as where (before) you were abus’d with diuerse stolne, and surreptitious

in Chaplains in early modern England
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Elisabeth Chaghafi

Variety of Readers’ stresses the ‘care and paine’ in producing an authoritative and comprehensive text, using imagery similar to that used by early Sidney editors. Thus John Heminge and Henry Condell declare that one of the purposes of their edition is to replace ‘maimed and deformed’ editions and present readers with the author’s brainchildren ‘perfect of their limbes; and […] absolute in their numbers, as he conceiued thē’ (A3 a ). Like the Sidney folio, Mr William Shakespeares Comedies, Histories & Tragedies also treats its author as a known entity who requires

in English literary afterlives