Care

2018 ◽  
pp. 280-294
Author(s):  
Neema Parvini
Keyword(s):  
Human Nature ◽  
King Lear ◽  
Moral Order ◽  
Richard Iii ◽  
Titus Andronicus ◽  
State Of Nature ◽  
Henry Vi

This chapter assesses the extent to which harm is caused in Shakespeare’s plays when the moral order breaks down by focusing on plays in which the dramatis personae revert to the Hobbesian state of nature and unspeakable cruelty: Titus Andronicus, 3 Henry VI, Richard III, and King Lear. In such moments Shakespeare seems to invoke the image of the tiger, which he only uses fifteen times in all his works. In the constrained or tragic vison (Thomas Sowell), when there are no institutions with which to reinforce the morals that bind people together (authority, loyalty, fairness, sanctity), the worst aspects of humanity – as embodied in the tiger – are granted their fullest expression. However, in Shakespeare’s version of this vision, human nature provides the seeds of its own rebirth.

Succession and confessional politics combined

2020 ◽  
pp. 17-34
Author(s):  
Peter Lake
Keyword(s):  
Roman History ◽  
Richard Iii ◽  
Titus Andronicus ◽  
Revenge Tragedy ◽  
Central Elements ◽  
Henry Vi

This chapter focuses on the play “Titus Andronicus,” which is considered not merely a revenge tragedy. It explains how Titus is suffused with evocations and references to the Aeneid and central elements in the plot that are taken from Ovid. It also mentions how Titus was described as a “noble Roman history” when it was entered in the stationer's register. The chapter discusses the Titus' central concerns: succession, tyranny, resistance and the nature and origins of monarchical legitimacy. It shows how Titus contains echoes of and parallels with the Henry VI and Richard III plays and how it was set within a meticulously evoked and entirely fictional version of Romanitas.

4. Plays of the 1590s

2015 ◽  
Author(s):  
Stanley Wells
Keyword(s):  
National Unity ◽  
Romeo And Juliet ◽  
English History ◽  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Titus Andronicus ◽  
The People ◽  
Henry Vi ◽  
National Welfare

During the first decade of Shakespeare’s career he wrote a series of closely inter-related plays based on English history drawing heavily on Holinshed’s Chronicles and other accounts. These plays show a serious concern with political problems, with the responsibilities of a king, his relationship with the people, the need for national unity, and the relationship between national welfare and self-interest. ‘Plays of the 1590s’ introduces each of these plays, sketching its origins, stories, and themes. It also touches on aspects of Shakespeare’s techniques and artistry. The plays considered are Henry VI (Parts One to Three), Richard III, Titus Andronicus, Romeo and Juliet, Richard II, Henry IV, Henry V, Edward III, and King John.

Shakespeare’s Style in the 1590s

2013 ◽  
Author(s):  
Goran Stanivukovic
Keyword(s):  
Romeo And Juliet ◽  
Richard Iii ◽  
Robert Greene ◽  
Titus Andronicus ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
The Social ◽  
Henry Vi ◽  
Love's Labour's Lost ◽  
Dramatic Practice

Shakespeare’s early style is explored from the angles of theory and dramatic practice, and in relation to the social and political contexts of the 1590s. Arguing that ornament and symmetry are the two distinct properties of Shakespeare’s early style, the essay discusses hyperbole, repetition, and parallelism as the most prominent features of that style. Claiming that Shakespeare’s use of bombast in the Henry VI trilogy and in Titus Andronicus is more sophisticated than Robert Greene and William Scott deemed it to be, the essay also explores the complex employment of symmetry, repetition and parallelism in Love’s Labour’s Lost, Richard III, A Midsummer Night’s Dream, and Richard III, and in the embedded sonnets in Romeo and Juliet and Much Ado About Nothing. In conclusion, hyperbole is linked with the period’s colonial aspirations, demonstrated in a comparative analysis of Much Ado and Richard Hakluyt’s Principal nauigations.

scholarly journals The Undiscovered Countries: Shakespeare and the Afterlife

Religions ◽  
2019 ◽  
Vol 10 (3) ◽  
pp. 174 ◽  
Author(s):  
Cyndia Clegg
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Richard Iii ◽  
Henry V ◽  
Antony And Cleopatra ◽  
Titus Andronicus ◽  
Last Judgment ◽  
Multiple Uses ◽  
To Come

The multiple uses of religion in Shakespeare’s plays seem to counter each other at every turn. In one respect, though, I have found a surprising consistency. Moments when Shakespeare’s drama imagines the afterlife are moments that lend significant insights into the play’s action or characterization, even though the image of one undiscovered country may differ drastically from another. Across the canon, the afterlife may appear as a place of religious judgment, as in Othello, Hamlet, Merchant of Venice; as a classical Elysium or Hades where the spirit or shadow removes elsewhere (Antony and Cleopatra, Titus Andronicus); as Abraham’s Bosom—a place of rest between death and the Last Judgment (Henry V, Richard III, Hamlet); or an unidentifiable life to come (Macbeth, King Lear).

scholarly journals The work of the couple Brailowsky in the mirror of Serbian critiques

Muzikologija ◽  
2003 ◽  
pp. 81-113 ◽  
Author(s):  
Nadezda Mosusova
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Richard Iii ◽  
National Theatre ◽  
The World ◽  
Historical Dramas ◽  
Queen Of Spades ◽  
Artistic Career ◽  
Edmond Rostand ◽  
Husband And Wife

Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers) the spirit of the World of Art (Mir Iskusstva), making d?cor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Moli?re, Shakespeare's Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach's Hoffmann's Tales, Faust by Gounod, Smetana's Bartered Bride, Bizet's Carmen Onegin and Queen of Spades by Tchaikovsky, Massenet's Manon, The Tsar's Bride by Rimsky-Korsakov, The Wedding of Milos by Petar Konjovic, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nusic and Milutin Bojic, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.

scholarly journals Re-shaping King Lear: Space, Place, Costume, and Genre

Linguaculture ◽  
2017 ◽  
Vol 2017 (1) ◽  
pp. 9-22
Author(s):  
Michael Hattaway
Keyword(s):  
Performance Studies ◽  
King Lear ◽  
Test Case ◽  
Richard Ii ◽  
Titus Andronicus ◽  
Critical Studies ◽  
Troilus And Cressida ◽  
Character Reading ◽  
Mind's Eye ◽  
Last Will And Testament

Abstract Performance studies must enjoy parity of esteem with critical studies because they remind us of the plurality of “readings” that are generated by a Shakespearean text. Shakespeare seems to have apprehended this when, in Othello, he used a nonce-word, “denotement”, which applies to Othello’s reading of his wife in his mind’s eye. I examine other sequences in which we watch a character “reading” on-stage or imagined action, in Hamlet, Titus Andronicus, Cymbeline, Richard II, and Troilus and Cressida. In Hamlet this involves re-reading as well as generic displacement, which, I argue, is a way of rendering inwardness. As I test case, I analyse a production of King Lear by Shakespeare’s Globe, on a fairground stage, in which the king reshaped himself, became a folkloric figure, like a figure in Nashe’s Summer’s Last Will and Testament. The play itself was thus, indecorously, reshaped as “The Tale of King Lear”. “Dramatic truth”, therefore, in no way depends upon theatrical “realism”.

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