Play Reviews: Titus Andronicus, All's Well That Ends Well, Cymbeline, Richard III, Shakespeare's R & J, Othello, Pericles, Paradise Lost, Pericles, Beaucoup de bruit pour rien [Much Ado about Nothing], Titus Andronicus, Titus Andronicus, Richard II, Richard II, Hamlet, La Nuit des Rois [Twelfth Night], Romeo ir Dzuljeta

2004 ◽  
Vol 65 (1) ◽  
pp. 59-87
Author(s):  
Greg Walker ◽  
Greg Walker ◽  
Paul Prescott ◽  
John Jowett ◽  
Peter J. Smith ◽  
...  
Keyword(s):  
Paradise Lost ◽  
Richard Ii ◽  
Richard Iii ◽  
Twelfth Night ◽  
Titus Andronicus ◽  
Much Ado About Nothing

4. Plays of the 1590s

2015 ◽  
Author(s):  
Stanley Wells
Keyword(s):  
National Unity ◽  
Romeo And Juliet ◽  
English History ◽  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Titus Andronicus ◽  
The People ◽  
Henry Vi ◽  
National Welfare

During the first decade of Shakespeare’s career he wrote a series of closely inter-related plays based on English history drawing heavily on Holinshed’s Chronicles and other accounts. These plays show a serious concern with political problems, with the responsibilities of a king, his relationship with the people, the need for national unity, and the relationship between national welfare and self-interest. ‘Plays of the 1590s’ introduces each of these plays, sketching its origins, stories, and themes. It also touches on aspects of Shakespeare’s techniques and artistry. The plays considered are Henry VI (Parts One to Three), Richard III, Titus Andronicus, Romeo and Juliet, Richard II, Henry IV, Henry V, Edward III, and King John.

Shakespeare’s Style in the 1590s

2013 ◽  
Author(s):  
Goran Stanivukovic
Keyword(s):  
Romeo And Juliet ◽  
Richard Iii ◽  
Robert Greene ◽  
Titus Andronicus ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
The Social ◽  
Henry Vi ◽  
Love's Labour's Lost ◽  
Dramatic Practice

Shakespeare’s early style is explored from the angles of theory and dramatic practice, and in relation to the social and political contexts of the 1590s. Arguing that ornament and symmetry are the two distinct properties of Shakespeare’s early style, the essay discusses hyperbole, repetition, and parallelism as the most prominent features of that style. Claiming that Shakespeare’s use of bombast in the Henry VI trilogy and in Titus Andronicus is more sophisticated than Robert Greene and William Scott deemed it to be, the essay also explores the complex employment of symmetry, repetition and parallelism in Love’s Labour’s Lost, Richard III, A Midsummer Night’s Dream, and Richard III, and in the embedded sonnets in Romeo and Juliet and Much Ado About Nothing. In conclusion, hyperbole is linked with the period’s colonial aspirations, demonstrated in a comparative analysis of Much Ado and Richard Hakluyt’s Principal nauigations.

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