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'Now I am alone,' says Hamlet before speaking a soliloquy. But what is a Shakespearean soliloquy? How has it been understood in literary and theatrical history? How does it work in screen versions of Shakespeare? What influence has it had? Neil Corcoran offers a thorough exploration and explanation of the origin, nature, development and reception of Shakespeare's soliloquies. Divided into four parts, the book supplies the historical, dramatic and theoretical contexts necessary to understanding, offers extensive and insightful close readings of particular soliloquies and includes interviews with eight renowned Shakespearean actors providing details of the practical performance of the soliloquy. A comprehensive study of a key aspect of Shakespeare's dramatic art, this book is ideal for students and theatre-goers keen to understand the complexities and rewards of Shakespeare's unique use of the soliloquy.
This ground-breaking book reveals the prophetic, revolutionary vision that drives Shakespeare's tragedies, tracing its unbroken development from its beginnings in the Henry VI plays and Shakespeare's first tragedy, Titus Andronicus, right through to his last, Coriolanus. The four full-length studies at the heart of the book focus in depth on Shakespeare's four greatest tragedies: Hamlet, Othello, King Lear and Macbeth. Shakespearean Tragedy engages with each of these titanic masterpieces as a singular, complete work of dramatic art with its own distinctive concerns and critical challenges, but with the same unmistakably Shakespearean tragic vision at its core. Through compelling new readings of the plays, grounded in close analysis of their language and form, Kiernan Ryan shows how Shakespeare dramatizes the tragic realities of his world from the standpoint of the transfigured future that our world still awaits.
Ovid is today best known for his grand epic, Metamorphoses, and elegiac works like the Ars Amatoria and Heroides. Yet he also wrote a Medea, now unfortunately lost. This play kindled in him a lifelong interest in the genre of tragedy, which informed his later poetry and enabled him to continue his career as a tragedian – if only on the page instead of the stage. This book surveys tragic characters, motifs and modalities in the Heroides and the Metamorphoses. In writing love letters, Ovid's heroines and heroes display their suffering in an epistolary theater. In telling transformation stories, Ovid offers an exploded view of the traditional theater, although his characters never stray too far from their dramatic origins. Both works constitute an intratextual network of tragic stories that anticipate the theatrical excesses of Seneca and reflect the all-encompassing spirit of Roman imperium.