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First published in 1977. This book ascertains what sources Shakespeare used for the plots of his plays and discusses the use he made of them; and secondly illustrates how his general reading is woven into the texture of his work. Few Elizabethan dramatists took such pains as Shakespeare in the collection of source-material. Frequently the sources were apparently incompatible, but Shakespeare's ability to combine a chronicle play, one or two prose chronicles, two poems and a pastoral romance without any sense of incongruity, was masterly. The plays are examined in approximately chronological order and Shakespeare's developing skill becomes evident.
Given the wealth of formal debate contained in this tragedy, Troilus and Cressida was probably written in 1602 for a performance at one of the Inns of the Court. Shakespeare's treatment of the age-old tale of love and betrayal is based on many sources, from Homer and Ovid to Chaucer andShakespeare's near contemporary Robert Greene. In the introduction the various problems connected with the play, its performance, and publication, are considered succinctly; its multiple sources are discussed in detail, together with its peculiar stage history and its renewed popularity in recentyears.
TROILUS AND CRESSIDA BY WILLIAM SHAKESPEARE WITH BEAUTIFUL CLASSIC COVER. PERFECTLY FOR EVERYONE WHO LOVES CLASSIC BOOKS OR AS A GIFT FOR YOU LOVED ONE. GET YOURS TODAY! Specifications: Cover Finish: GLOSSY Dimensions: 5,25" x 8" (13,34 x 20,32 cm) Interior: White Paper Pages: 181
Will & Love examines four of Shakespeare's love plays (Romeo and Juliet, Troilus and Cressida, Twelfth Night, and Antony and Cleopatra) in light of the Augustinian psychology at the heart of the theological romance tradition. This tradition, which Shakespeare inherits from medieval theologian-poets such as Boethius, Dante, Petrarch, and Chaucer, issues from the idea, initially expressed by Augustine in his Confessions, that love functions as volitional weight, as a kind of magnetism or almost-gravitational force--that it moves the lover in mysterious ways yet without diminishing his or her agency. Will & Love highlights Shakespeare's conception of love in terms of motion and explores the metaphysical, ethical, psychological, and dramatic implications of his doing so.
Cressida, a Trojan woman, pledges her love to Troilus, one of King Priam's sons. However, when her father demands her presence in the Greek camp, she quickly switches her affections to Diomedes, the Greek soldier who is sent to escort her.
Shakespeare scholars give an account of particularly important or interesting features of Shakespeare's use of language.
Theater history and bibliography exist on the fringes of dramatic criticism, rarely influencing studies outside their fields, and even less often combined with each other. There is, however, much to be gained from a dialogue between theatrical choices and textual problems. There are nearly five hundred substantive differences between the 1609 Quarto and 1623 Folio versions of Shakespeare's Troilus and Cressida, and many more instances where editors rewrote the dialogue and stage directions. This book studies a selection of variants and emendations in Troilus and Cressida with extensive reference to the theater history of the passages, showing how production decisions can provide a valuable commentary on editorial questions.
Based on various models of metonymy, this book distinguishes metonymic drama structure from the metaphoric, symbolic, and allegorical. It applies Kristeva's theory of the "semiotic" to dramatic texts and Barker's observations on the private body to their potential theatrical representation in order to argue that there is a relationship between fragmented representations of the subject and metonymic drama structure.