Profoundly Entertaining: An Introduction to Shakespeare's ArtistryXlibris Corporation, 2006 M11 2 - 506 pages Profoundly Entertaining offers the general reader a chance to think about Shakespeares artistry in a sustained way. Entertaining as Shakespeares plays are, that quality by itself wouldnt justify the effort required to overcome the difficulty their language poses. Their enduring popularity suggests that, to varying degrees, their audiences sense their profundity even if they cannot confidently articulate their experience. Without any overarching argument to makemerely with admiration for the most intelligent, honest, courageous, and sustained confrontation of human life of which we have written recordthe book invites its readers to accompany Shakespeare on his journey of exploration into the human condition unobscured by prevailing orthodoxies and comforting illusions. |
From inside the book
Results 1-5 of 38
Page 33
... soliloquy that ends Act II. Hamlet's obsession with existential authenticity continually rejects life as a series of assigned roles, and this rejection expresses itself in critiquing stylized behavior. Still, however sophisticated ...
... soliloquy that ends Act II. Hamlet's obsession with existential authenticity continually rejects life as a series of assigned roles, and this rejection expresses itself in critiquing stylized behavior. Still, however sophisticated ...
Page 76
... soliloquy, a speech of almost 60 lines that concludes Act II, is, “The play's the thing/ Wherein I'll catch the conscience of the king.” We'll see additional famous examples in Macbeth. Lastly, Shakespeare decreases his reliance on ...
... soliloquy, a speech of almost 60 lines that concludes Act II, is, “The play's the thing/ Wherein I'll catch the conscience of the king.” We'll see additional famous examples in Macbeth. Lastly, Shakespeare decreases his reliance on ...
Page 77
... soliloquy that begins Richard III is full of them: Now are our brows bound with victorious wreaths, Our bruised arms hung up for monuments, Our stern alarums chang'd to merry meetings, Our dreadful marches to delightful measures. By the ...
... soliloquy that begins Richard III is full of them: Now are our brows bound with victorious wreaths, Our bruised arms hung up for monuments, Our stern alarums chang'd to merry meetings, Our dreadful marches to delightful measures. By the ...
Page 98
... soliloquy in 3 Henry VI that he can " set the murtherous Machiavel to school . " It was a popular character . The Jew of Malta and Richard III stayed in the repertory for a long time . We'll see more subtle embodiments of the ...
... soliloquy in 3 Henry VI that he can " set the murtherous Machiavel to school . " It was a popular character . The Jew of Malta and Richard III stayed in the repertory for a long time . We'll see more subtle embodiments of the ...
Page 106
... soliloquy at the end of Act I scene 2 , the first scene in which he personally appears , Shakespeare portrays Hal as thinking about the way he has been preparing himself to stage his conversion or , to use his term , his " reformation ...
... soliloquy at the end of Act I scene 2 , the first scene in which he personally appears , Shakespeare portrays Hal as thinking about the way he has been preparing himself to stage his conversion or , to use his term , his " reformation ...
Other editions - View all
Profoundly Entertaining: An Introduction to Shakespeare's Artistry Herbert B. Rothschild No preview available - 2006 |
Profoundly Entertaining: An Introduction to Shakespeare's Artistry Herbert B. Rothschild No preview available - 2006 |
Common terms and phrases
Act III scene actors Antonio asks audience Aufidius Banquo Bassanio begins behavior blood Brutus Bullingbrook Caesar called casket Cassio Cesario characters comedy Coriolanus daughter death Desdemona discussion dramatic action Duke Duncan Edmund erotic eyes Falstaff father feel Fool force give Goneril Hamlet hath hear Henry honor Hotspur human Iago judgment kill King Lear lago later Leontes lines live look lord lovers Macbeth Macduff Malvolio Martius means Merchant of Venice Midsummer Night's Dream mind moral murder nature never Olivia Orsino Othello ourselves person play plebeians plot Plutarch political Polixenes Portia Prince reality Richard Richard II Rome says Sebastian seems sexual Shakespeare Shylock soliloquy soul speak speech stage story Tale tells theater theatrical thee there’s Theseus things thou Troilus and Cressida truth Twelfth Night Ulysses understand Venice Viola wife Winter's Tale word