By Richard Dutton, Jean E. Howard

ISBN-10: 063122632X

ISBN-13: 9780631226321

This four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely accomplished photograph of present Shakespeare feedback.

* Brings jointly new essays from a mix of more youthful and extra proven students from worldwide - Australia, Canada, France, New Zealand, the uk, and the us.
* Examines every one of Shakespeare’s performs and significant poems, utilizing all of the assets of up to date feedback, from functionality reviews to feminist, historicist, and textual research.
* Volumes are geared up in terms of conventional different types: particularly the histories, the tragedies, the romantic comedies, and the past due performs, challenge performs and poems.
* each one quantity comprises person essays on all texts within the correct type, in addition to extra common essays serious concerns and ways extra broadly appropriate to the style.
* deals a provocative roadmap to Shakespeare reviews on the dawning of the twenty-first century.

This better half to Shakespeare’s tragedies comprises unique essays on each tragedy from Titus Andronicus to Coriolanus in addition to 13 extra essays on such themes as Shakespeare’s Roman tragedies, Shakespeare’s tragedies on movie, Shakespeare’s tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.

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Additional resources for A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture)

Example text

With this shift into the domestic as a topic there comes about a shift in the register of the tragic discourse. The opening of the play is a lament by Arden that Alice now loves Mosby, but it is fired by social and class concerns; the suggestion is that her adultery would be acceptable to Arden if Mosby were a gentleman. On the other hand, Alice is much more radical in her valuations of marriage; she argues that Arden would not have to die if she did not feel constrained. And marriage itself she sees as but words: Sweet Mosby is the man that hath my heart; And he usurps it, having nought but this – That I am tied to him by marriage.

Chicago, IL: University of Chicago Press. Mehl, D. (1986). Shakespeare’s Tragedies: An Introduction. Cambridge: Cambridge University Press. Michel, L. (1956). The Possibility of Christian Tragedy. Thought, 31, 403–28. Miola, R. S. (1992). Shakespeare and Classical Tragedy. Oxford: Clarendon Press. Muir, K. (1972). Shakespeare’s Tragic Sequence. London: Hutchinson. Neill, M. (1997). Issues of Death: Mortality and Identity in the Drama of Shakespeare and his Contemporaries. Oxford: Clarendon Press.

3 These paradoxes are foregrounded in Renaissance drama in various ways as it debates and discusses tragedy. They are so because, as Neill and Mullaney suggest, in the shifting, changing world of sixteenth- and seventeenth-century England, it is no longer possible to deal with death in a simple fashion. More specifically, it is no longer possible to contain the significance of death within the old religious, institutional framework. New ideas, new doubts, and new uncertainties undo the thinking that surrounds death and, with it, tragedy.

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A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture) by Richard Dutton, Jean E. Howard

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