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

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.”

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.

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