Talking in asides in Shakespeare’s plays

2018 ◽  
Vol 11 (1) ◽  
pp. 38-59
Author(s):  
Roberta Mullini
Keyword(s):  
Eighteenth Century ◽  
Antony And Cleopatra ◽  
The Tempest ◽  
Stage Direction ◽  
Henry Vi ◽  
Pragmatic Strategies

Abstract Only in the first Quarto of The Merry Wives of Windsor (1602) and in that of Pericles (1609) can the stage direction “aside” be found. Nevertheless it is abundantly present in modern editions of Shakespearean plays, starting from Shakespeare’s first editors in the eighteenth century. Scholars have defined various categories for this particular theatrical convention (monological, ad spectatores, and dialogical), among which this article investigates the dialogical aside and the pragmatic strategies it involves, when dialogue becomes circumspect, so as not to be caught by other onstage bystanders. Following the results of a preliminary quantitative search, the plays analysed in detail are The Tempest, Henry VI, Part 3, and Antony and Cleopatra.

scholarly journals Shakespeare’s Concept of Astronomy

Al-Burz ◽  
2016 ◽  
Vol 8 (1) ◽  
pp. 55-64
Author(s):  
Shumaila Maryam Barozai ◽  
Faria Saeed Khan ◽  
Muhammad Zeeshan
Keyword(s):  
William Shakespeare ◽  
King Lear ◽  
Specialized Knowledge ◽  
Antony And Cleopatra ◽  
The Tempest ◽  
Henry Vi

This contribution scrutinizes Shakespeare knowledge and views about cosmological theories i.e. Ptolemaic, Copernicus, TychoBrahe and Galileo. It in addition claims that William Shakespeare had a profound interest and specialized knowledge in the domain of technical astronomy. Plays by Shakespeare are loaded with astronomical allusions. Because that is injected in Shakespeare’s nature to discuss every aspect of his age like medicine, falconry and agriculture but his astronomy is quite interesting. Furthermore, this effort examines the Shakespeare’s astronomical concept in allegorical form in his plays, especially in Hamlet, King Lear, Othello, Julius and Ceaser, Henry VI, The Tempest and Antony and Cleopatra.

Symphonic Imagery in Richard II

PMLA ◽  
1947 ◽  
Vol 62 (2) ◽  
pp. 339-365
Author(s):  
Richard D. Altick
Keyword(s):  
Small Group ◽  
Musical Composition ◽  
Walter Pater ◽  
Richard Ii ◽  
Antony And Cleopatra ◽  
Twelfth Night ◽  
Single Strain ◽  
The Tempest ◽  
Dramatic Form

Critics on occasion have remarked the peculiar unity of tone which distinguishes Richard II from most of Shakespeare's other plays. Walter Pater wrote that, like a musical composition, it possesses “a certain concentration of all its parts, a simple continuity, an evenness in execution, which are rare in the great dramatist. … It belongs to a small group of plays, where, by happy birth and consistent evolution, dramatic form approaches to something like the unity of a lyrical ballad, a lyric, a song, a single strain of music.” And J. Dover Wilson, in his edition of the play, has observed that “Richard II possesses a unity of tone and feeling greater than that attained in many of his greater plays, a unity found, I think, to the same degree elsewhere only in Twelfth Night, Antony and Cleopatra, and The Tempest.”

The Sound of Shakespeare Thinking

2013 ◽  
Author(s):  
James Longenbach
Keyword(s):  
King Lear ◽  
The Novel ◽  
The Tempest ◽  
Henry Vi ◽  
History Of ◽  
Conscious Activity ◽  
King John

Thinking, Freud argued, begins as a pre-conscious activity, although we paradoxically become aware of it only in consciousness: whatever we know about thinking is already a representation of thinking. This chapter argues that Shakespeare in this sense invented what we most commonly recognize as the verbal embodiment of thinking. Contrasting 3 Henry VI with King John, it shows how, in the latter play, Shakespeare first constructed his signature representation of interiority in the highly disjunctive, self-revising speech of the Bastard. Moving on to examine the more fully ripened version of this kind of speech in King Lear and The Tempest, this chapter then shows how Shakespeare’s representations of thinking have inflected not only the history of the lyric poem in English (from Keats’s ‘Ode to a Nightingale’ to Louise Gluck’s ‘Before the Storm’) but also the novel (Virginia Woolf’s Mrs. Dalloway).

Antony and Cleopatra, and: The Tempest (review)

2012 ◽  
Vol 30 (2) ◽  
pp. 165-172
Author(s):  
N.R. Helms
Keyword(s):  
Antony And Cleopatra ◽  
The Tempest

Breaking Form through Sound: Instrumental Aesthetics, Tempêête, and Temporality in the French Baroque Cantata

2009 ◽  
Vol 26 (3) ◽  
pp. 327-378 ◽  
Author(s):  
Michele Cabrini
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
French Opera ◽  
The Tempest ◽  
Dramatic Structure ◽  
Opera Seria ◽  
Temporal Continuity ◽  
Flow Of Time ◽  
Musical Response

Abstract Between Lully's death (1687) and Rameau's operatic debut (1733), composers of the tragéédie en musique experimented with instrumental effects, greatly expanding the dramatic role of the orchestra. The profusion of these effects coincides with a new aesthetic reappraisal of instrumental music in France, as can be observed in the writings of Du Bos. The tempêête constitutes one of the most remarkable examples. Its sonic violence was too strong to end with the instrumental movement that depicted it; indeed, composers often prolonged the storm scene into a series of movements all connected by thematic material and key to produce a verisimilar effect of the storm's momentum, thereby creating what I term ““the domino effect.”” By the early eighteenth century, the tempêête had become such a well established and popular topos that it began migrating to non-staged genres like the cantata. The transference of the tempest topos from the tragéédie lyrique to the French baroque cantata entailed the breaking of formal frames. Unlike the supple dramatic structure of French opera, the cantata adopted the more rigid mold of the Italian opera seria——the recitative-aria unit——which separated the flow of time into active and static moments. Three case studies——Bernier's Hipolite et Aricie (1703), Jacquet de la Guerre's Jonas (1708), and Morin's Le naufrage d'Ulisse (1712)——demonstrate how composers manipulated this mold to satisfy a French aesthetic that valued temporal continuity for the sake of verisimilitude. All three composers employ key and instrumental music to portray the storm's forward momentum across recitatives and arias, relying primarily on rhythmic energy and melodic activity to create continuity. Although each composer's musical response varies according to personal style, what emerges is a shared aesthetic and compositional strategy employed to portray an event whose relentless power transcends the temporal boundaries between recitative and aria. This aesthetic of continuity and linearity shown by French baroque composers influenced the treatment of the tempest topos in the later eighteenth-century repertory, vocal and instrumental alike, including opera, the concerto, the overture-suite, and the characteristic symphony.

The Aboriginal Presence in Canadian Theatre and the Evolution of Being Canadian

1993 ◽  
Vol 18 (3) ◽  
pp. 197-205 ◽  
Author(s):  
Helen Peters
Keyword(s):  
British Columbia ◽  
Eighteenth Century ◽  
Aboriginal People ◽  
James Cook ◽  
Queen Charlotte Islands ◽  
The Tempest ◽  
Late Eighteenth Century ◽  
Canadian Theatre ◽  
Late Eighteenth

Skylight Theatre's productions of Shakespeare's The Tempest in Earl Bales Park in Toronto (1987 and 1989) situated Prospero on the Queen Charlotte Islands off the coast of British Columbia, set the action during the late eighteenth-century voyages of Captain James Cook—the period of the area's colonization—and cast Ariel and Caliban as Haida Indians, Canadian Aboriginal people.

scholarly journals Kheraskov’s Gonimye : Shakespeare’s Second Appearance in Russia

Slavic Review ◽  
1976 ◽  
Vol 35 (2) ◽  
pp. 249-257
Author(s):  
Michael Green
Keyword(s):  
Eighteenth Century ◽  
Cultural Relations ◽  
The Tempest ◽  
Present Essay ◽  
History Of ◽  
The Relationship ◽  
Single Question ◽  
Scholarly Attention

Some seventeen years ago, P. N. Berkov wrote: “The least-known aspect of the still comparatively unexplored field of Anglo-Russian cultural relations in the eighteenth century is that of the history of the stage and of stage-plays.“ The statement is hardly less true today. Berkov went on to say that a single question—“that of how far the Russian reader and theatergoer was familiar with Shakespeare’s work“—had attracted the lion’s share of scholarly attention. Even in this area, however, work remains to be done, and it will be the aim of the present essay, by demonstrating the relationship between Kheraskov’s drama Gonimye and Shakespeare’s The Tempest, to add a small but necessary link to the chain of our knowledge of Shakespeare in Russia.

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