Search Results for romeo

... takes pastoral seriously. HAROLDTOLIVER University‘of Calfornia, Irvine Shakespearean Metadrama: The Argument of the Pluy in “Titus Andronicus, ” “Love’s Labour5 Lost,” “Romeo and Juliet,” “A Midsummer Night’s Dream,” and “Richard...

..., Shakespeare’s Romeo and Jutiet, of which a few points in The Generall are “strongly reminiscent.” Like Juliet, Altemera, the hseroine of The Generall, takes a seemingly mortal drug to prevent her falling into the hands of a detested suitor, and just as Romeo and the County Paris visit the tomb...

... for this choice. Richard’s decree, Mowbray’s lament, Gaunt’s consolation, and Bolingbroke’s response-all depict a courtly spirit which is only one expression of the picture of England, Res publica, which is one of Shakespeare’s main concerns in the history plays. Romeo is the last of our exiles...

... by Kent to exert his will. Similarly, the beat in which Romeo and Juliet first speak to one another “treats Romeo’s desire to kiss Juliet” (p. 23). Perhaps this episode can be played as a battle of the sexes won by Romeo, but it has sometimes been successfully played as a dramatization of mutual...

... and Lylyian motifs to the romantic innovations of a Greene-to a possibly early version of Merry Wives of Windsor, to the lyricism of Romeo and Juliet, and to Midsummer Night’s Dream. In terms of tragic theory, however, the movement is from Romeo to Henry VI, with Titus Andronicus a parenthetical...

... and Lylyian motifs to the romantic innovations of a Greene-to a possibly early version of Merry Wives of Windsor, to the lyricism of Romeo and Juliet, and to Midsummer Night’s Dream. In terms of tragic theory, however, the movement is from Romeo to Henry VI, with Titus Andronicus a parenthetical...

... long been noted, undoubtedly to the chagrin of philosophically minded lovers of Shakespeare, that the attitude toward philosophy displayed by some of the dramatist’s characters is less than friendly. From the few cases of outright denunciation, such as Romeo’s “Hang up philosophy !” and some...

... of Errors, The Two Gentlemen of Verona, and Love’s La- bour‘s Lost. Discussions of Venus and Adonis and Lucrece follow. The final chapters consider the resolution of what has gone before in Richard III, Romeo and Juliet, and A Midsummer Night’s Dream. The order of the discussions is not meant...

.... 404 JOHN W. VELZ 405 Certainly analogical design is widespread-one might say dominant-in the Shakespeare canon. Hartwig makes chapter-length analyses of scenes in Macbeth, Romeo and Juliet, Richard 11, Twelfth Night, and Hamlet; Cloten...

... observation that Romeo and Juliet’s first kiss does not immediately follow their sonnet in editorial stage directions (p. 85) overlooks my edition. Her work on the visual elements of the marriage service in chapter 3 needs to be supplemented by the fine contributions of Lynda E. Boose and Margaret...

.... All of this is outlined, with numerous lists of illustrative questions, in the first part of tlie book. In tlie second part, the author applies the close-reading method these questions add up to, to selected passages from five plays: Romeo and Juliet, As You Like It, Julius Caesar, Twelfth...

.... But is there any real evidence in the plays to support the notion that Shakespeare was tempted by Marlovian dreams of power or by self-indulgent poetic fantasizing? One might as well infer from the sympathetic portrayals of Romeo and Juliet and Brutus and Portia that Shakespeare came to terms with his...

..., with its plethora of conventions pilfered not only from the intrigue and exposure plots of the day but from older drama as well, particularly Romeo and Juliet.8 For that reason I shall consider it first. Although the spirit of farce animates both the main plot and the sub- sidiary action...

... that Romeo and Juliet’s first kiss does not immediately follow their sonnet in editorial stage directions (p. 85) overlooks my edition. Her work on the visual elements of the marriage service in chapter 3 needs to be supplemented by the fine contributions of Lynda E. Boose and Margaret Loftus Ranald...

... of Ovid’s poetic and political projects would not exist without the pervasively implied presence of woman readers and commentators,” James rightly notes (235). Then comes Shakespeare. Chapters 3 and 4 are readings of Romeo and Juliet and A Midsummer Night’s Dream . James teases out how the former...

... . . . and detestable loues.”a8 Orlando then was particularly susceptible, and, like Romeo whose innate temper was also sanguine, he is terribly smitten at first sight. He cannot even say a word, and becomes “a mere lifeless He reproaches himself with this untoward lumpishness, and cries...

... early work like Romeo and Juliet to the respect for the sana- tive power of contrariety that marks the later plays. In most of the tragedies, Grudin maintains, contrariety serves to instruct rather than to baffle the audi- ence: “far from being a manifesto of chaos or absurdity,” it functions...

...-view which pre- cluded the reconciliation of Nutur and Sitte (first version of Der grune Hein- rich, “Romeo und Julia auf dem Dorfe It is a keen pleasure to follow Boeschenstein’s succinct argumentation which presents the interplay and inter- ference of these tendencies until...

... and in plays written in all stages of his career. Romeo overhears Juliet in the balcony scene. In Love’s Labor’s Lost Berowne eavesdrops on the King’s solilo- quy (4.3);at the approach of Longaville, the King hides, and he and Berowne separately eavesdrop on Longaville; at the approach...

...) or of the protagonist (as in Oedipus the King, the Hippolytus, The Bacchantes, Antony and Cleopatra, Romeo and Juliet, Doctor Faustus, Macbeth) or of both (as in The Seven Against Thebes, the Antigone, Ajax, Trachiniae, Oedipus at Colonus, Hamlet, Othello, King Lear, Samson Agonistes) or the final scene...