The Masks of Anthony and CleopatraUniversity of Delaware Press, 2006 - 605 頁 A sensitive and penetrating analysis, scene by scene, act by act, of this most complex and ambiguous of Shakespeare's great plays, seen through the eyes of both the literary critic and the student of theatrical history. As in his earlier Masks books, Marvin Rosenberg has gathered impressions from performance reviews from all over the world, comments by actors and directors, and his own personal experience of the play in rehearsal and staging, and has combined these insights with extensive reading of critical essays and consideration of the thoughts and opinions of his literary colleagues to form an illuminating interpretive study. The book also conveys the author's wholehearted enthusiasm for the play and his profound appreciation of Shakespeare's poetic and dramatic genius. The book, left unfinished at Dr Rosenberg's death in 2003, was edited and completed by his wife, Mary. |
搜尋書籍內容
第 1 到 5 筆結果,共 88 筆
第 18 頁
... give special thanks also to Hugh Richmond , Alan Nelson and Jean Georgakopoulos of Berkeley and Jay Halio and Lois Potter of Delaware , all of whom read the complete manuscript with sympathetic care and added new dimensions to my ...
... give special thanks also to Hugh Richmond , Alan Nelson and Jean Georgakopoulos of Berkeley and Jay Halio and Lois Potter of Delaware , all of whom read the complete manuscript with sympathetic care and added new dimensions to my ...
第 24 頁
... as an actor to help give Shakespeare inspiration for the more polyphonic roles : the an- drogynous Rosalind in As You Like It , the more complex Beatrice in Much Ado , the clever Helena in All's Well ; and who then 24 INTRODUCTION.
... as an actor to help give Shakespeare inspiration for the more polyphonic roles : the an- drogynous Rosalind in As You Like It , the more complex Beatrice in Much Ado , the clever Helena in All's Well ; and who then 24 INTRODUCTION.
第 26 頁
... give his impulses and lan- guage free rein as never before . Now his protagonists were no longer bound by the social conventions he had held to in every play except minimally in Troilus and Cressida . With Anthony and Cleopatra ...
... give his impulses and lan- guage free rein as never before . Now his protagonists were no longer bound by the social conventions he had held to in every play except minimally in Troilus and Cressida . With Anthony and Cleopatra ...
第 27 頁
... give two different views : Though he be painted one way like a Gorgon , The other way's a Mars . ( 2.5.118-19 ) If we believe what Anthony and Cleopatra say , they are true lovers . A. C. Bradley , who had reservations about the play ...
... give two different views : Though he be painted one way like a Gorgon , The other way's a Mars . ( 2.5.118-19 ) If we believe what Anthony and Cleopatra say , they are true lovers . A. C. Bradley , who had reservations about the play ...
第 61 頁
... gives her in 1.3 . Now Cleopatra gets assurance of his love from Anthony in what seems to a Yea his splendid avowal , sprung from what is noble - starting here a word - and- concept thread that will weave through the loom of the ...
... gives her in 1.3 . Now Cleopatra gets assurance of his love from Anthony in what seems to a Yea his splendid avowal , sprung from what is noble - starting here a word - and- concept thread that will weave through the loom of the ...
內容
41 | |
70 | |
80 | |
86 | |
Act I Scene iii | 104 |
Octavius | 118 |
Act I Scene iv | 123 |
Act I Scene v | 133 |
Act III Scene xiii | 293 |
Act Four | 315 |
Act IV Scene i | 317 |
Act IV Scene ii | 320 |
Act IV Scene iii | 326 |
Act IV Scene iv | 329 |
Act IV Scene v | 335 |
Act IV Scene vi | 337 |
Act Two | 143 |
Act II Scene i | 145 |
Act II Scene ii | 151 |
Act II Scene iii | 174 |
Act II Scene iv | 180 |
Act II Scene v | 181 |
Act II Scene vi | 197 |
Act II Scene vii | 207 |
Act Three | 225 |
Act III Scene i | 227 |
Act III Scene ii | 231 |
Act III Scene iii | 239 |
Act III Scene iv | 246 |
Act III Scene v | 251 |
Act III Scene vi | 254 |
Act III Scene vii | 262 |
Act III Scenes viii ix and x | 272 |
Act III Scene xi | 278 |
Act III Scene xii | 288 |
Act IV Scene vii | 341 |
Act IV Scene viii | 344 |
Act IV Scene ix | 349 |
Act IV Scenes x xi xii and xiii | 352 |
Act IV Scene xiv | 362 |
Act IV Scene xv | 379 |
Act Five | 393 |
Act V Scene i | 395 |
Act V Scene ii | 403 |
Is Anthony and Cleopatra a Tragedy? | 473 |
Epilogue | 480 |
A Note on the Historical Cleopatra 69 BC30 BC | 482 |
Critical and Theatrical Bibliographies | 489 |
Critical Bibliography | 491 |
Theatrical Bibliography | 532 |
Tributes from Marvin Rosenbergs Colleagues and Friends | 595 |
Index | 597 |
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常見字詞
Actium actor Agrippa Alexas Anthony Anthony's Antony and Cleopatra April April 29 arms audience August August 16 battle Bevington Birmingham Mail Birmingham Post body Caesar characters Charmian Cleo Clown Daily Telegraph death director Dolabella edited Egypt Egyptian emotion Enobarbus Enobarbus's Enter Eros Exeunt exit fear feel final Folio Fulvia gestures give hand hear heart imagining reader Iras Julius Caesar July kiss language laugh Lepidus London look lovers Maecenas Mardian Marvin Menas Messenger Nay critic noble November Octavius October Othello Parthia passion patra Philo play Plutarch polyphony Pompey Pompey's Proculeius Queen Reviews Roman Rome Scarus scene seems sense sexual Shake Shakespeare wanted share soldiers sometimes Soothsayer sound speak speare speech stage Stratford subtext suggests surely sword tell Theatre thee Thidias thou thought touch Tragedy triumph University Press Ventidius voice woman women words York
熱門章節
第 167 頁 - The barge she sat in, like a burnish'd throne, Burn'd on the water ; the poop was beaten gold, Purple the sails, and so perfumed that The winds were love-sick with them, the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes.
第 170 頁 - Age cannot wither her, nor custom stale Her infinite variety : other women cloy The appetites they feed, but she makes hungry, Where most she satisfies ; for vilest things Become themselves in her, that the holy priests Bless her when she is riggish.
第 64 頁 - I'll kneel down, And ask of thee forgiveness. So we'll live, And pray, and sing, and tell old tales, and laugh At gilded butterflies, and hear poor rogues Talk of court news ; and we'll talk with them too, Who loses,- and who wins ; who's in, who's out ; And take...
第 211 頁 - It is shaped, sir, like itself, and it is as broad as it hath breadth ; it is just so high as it is, and moves with it own organs ; it lives by that which nourisheth it ; and the elements once out of it, it transmigrates.
第 129 頁 - Which beasts would cough at ; thy palate then did deign The roughest berry on the rudest hedge ; Yea, like the stag, when snow the pasture sheets, The barks of trees thou browsed'st ; on the Alps It is reported thou didst eat strange flesh, Which some did die to look on ; and all this, It wounds thine honour that I speak it now, Was borne so like a soldier, that thy cheek So much as lank'd not.
第 62 頁 - Of the rang'd empire fall ! Here is my space. Kingdoms are clay: our dungy earth alike Feeds beast as man : the nobleness of life Is, to do thus; when such a mutual pair, And such a twain can do 't, in which I bind, On pain of punishment, the world to weet We stand up peerless.
第 24 頁 - Our women are defective, and so sized, You'd think they were some of the guard disguised ; For to speak truth, men act, that are between Forty and fifty, wenches of fifteen ; With bone so large, and nerve so incompliant, When you call Desdemona, enter giant.
第 146 頁 - We, ignorant of ourselves, Beg often our own harms, which the wise powers Deny us for our good ; so find we profit, By losing of our prayers.
第 303 頁 - But when we in our viciousness grow hard, (O misery on't !) the wise gods seel our eyes ; In our own filth drop our clear judgments ; make us Adore our errors ; laugh at us, while we strut To our confusion.