Reviews Plays: Richard III, a Midsummer Night's Dream, Edward III, Much Ado About Nothing, Antony and Cleopatra, The Tempest, Eastward Ho!, The Island Princess, Twelfth Night, a Midsummer Night's Dream, Henry VI: Revenge in France, Henry VI: Revolt in England, Othello, Titus Andronicus, King Lear, Macbeth, The Alchemist, a Midsummer Night's Dream, La Tempête, Le Conte d'hiver, Juliette et Roméo, Le Songe d'une nuit d'été, Un Volpone, Macbeth, Macbeth

2002 ◽  
Vol 62 (1) ◽  
pp. 73-142
Author(s):  
Paul Edmondson ◽  
Greg Walker ◽  
Greg Walker ◽  
Peter J. Smith ◽  
Greg Walker ◽  
...  
Keyword(s):  
Richard Iii ◽  
Antony And Cleopatra ◽  
Twelfth Night ◽  
Titus Andronicus ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
The Tempest ◽  
Edward Iii ◽  
A Midsummer Night's Dream ◽  
Henry Vi

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.

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