Literature

Shakespeare's Histories: A Guide to Criticism (Blackwell by Emma Smith

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By Emma Smith

Shakespeare's historical past performs, with their insistent depictions of management and its discontents, have brought on very various severe perspectives during the last 4 centuries. This e-book introduces scholars to the most important severe debates below 5 headings: style, historical past and politics, gender and sexuality, language, and function. The consultant serves either to augment students' delight in the historical past performs and to expand their severe repertoire. by means of offering ten contemporary serious interventions within the box, it offers a compendium of present scholarship. those articles are contextualised with short severe overviews and annotated feedback for additional interpreting. an extra bankruptcy on pre-twentieth-century feedback is especially in narrative shape yet excerpts major early perspectives by way of Johnson, Hazlitt and Coleridge.

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Additional resources for Shakespeare's Histories: A Guide to Criticism (Blackwell Guides to Criticism)

Sample text

In his lectures, translated into English in 1846, Schlegel identifies characterization as one of Shakespeare’s most dominant qualities: Never, perhaps, was there so comprehensive a talent for characterization as Shakspeare. It . . grasps every diversity of range, age and sex, down to the lispings of infancy. . the king and the beggar, the hero and the pickpocket, the sage and the idiot, speak and act with equal truthfulness; not only does he transport himself to distant ages and foreign nations .

Of Richard II, Dowden notes: Life is to Richard a show, a succession of images; and to put himself into accord with the aesthetic requirements of his position is Richard’s first necessity. He is equal to playing any part gracefully which he is called upon by circumstances to enact. But when he has exhausted the aesthetic satisfaction to be derived from the situations of life, he is left with nothing further to do. He is an amateur in living; not an artist. (1875: 195) By contrast, Bolingbroke is a practical, self-controlled and powerful figure.

Thus Richard III is seen to ‘display the working out of God’s plan to restore England to prosperity’ (1969: 205); ‘Shakespeare conceived his second tetralogy as one great unit’ (1969: 240) and this ‘epic’ run of plays must therefore be treated as ‘a single organism’ (1969: 242); and Genre 35 ‘Richard II does its work in proclaiming the great theme of the whole cycle of Shakespeare’s History Plays: the beginning in prosperity, the distortion of prosperity by a crime, civil war, and ultimate renewal of prosperity’ (1969: 267).

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