This chapter focuses on the play “Titus Andronicus,” which is considered not merely a revenge tragedy. It explains how Titus is suffused with evocations and references to the Aeneid and central elements in the plot that are taken from Ovid. It also mentions how Titus was described as a “noble Roman history” when it was entered in the stationer's register. The chapter discusses the Titus' central concerns: succession, tyranny, resistance and the nature and origins of monarchical legitimacy. It shows how Titus contains echoes of and parallels with the Henry VI and Richard III plays and how it was set within a meticulously evoked and entirely fictional version of Romanitas.
{"title":"Succession and confessional politics combined","authors":"Peter Lake","doi":"10.2307/j.ctv12sdz9d.6","DOIUrl":"https://doi.org/10.2307/j.ctv12sdz9d.6","url":null,"abstract":"This chapter focuses on the play “Titus Andronicus,” which is considered not merely a revenge tragedy. It explains how Titus is suffused with evocations and references to the Aeneid and central elements in the plot that are taken from Ovid. It also mentions how Titus was described as a “noble Roman history” when it was entered in the stationer's register. The chapter discusses the Titus' central concerns: succession, tyranny, resistance and the nature and origins of monarchical legitimacy. It shows how Titus contains echoes of and parallels with the Henry VI and Richard III plays and how it was set within a meticulously evoked and entirely fictional version of Romanitas.","PeriodicalId":184704,"journal":{"name":"Hamlet's Choice","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115667556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter talks about the play “Richard III,” which reflects the dreadful evil of the persons being removed from power that are thought to occlude conspiracy, foreign invasion, assassination and regicide. In Richard III, that effect had been compounded by the presence throughout the play of a battery of providential signs, dreams, prophecies and omens. It also discusses the Titus providence, which is defined as the intervention of the supernatural and the prophetic directly into events. The chapter analyzes the “Titus Andronicus” that contains the structures of a typical criminal prosecution for murder. It also looks into Saturninus' failure to observe the conventional legal structures as a central aspect of his emergence as a tyrant.
{"title":"Beyond paganism and politics","authors":"Peter Lake","doi":"10.2307/j.ctv12sdz9d.8","DOIUrl":"https://doi.org/10.2307/j.ctv12sdz9d.8","url":null,"abstract":"This chapter talks about the play “Richard III,” which reflects the dreadful evil of the persons being removed from power that are thought to occlude conspiracy, foreign invasion, assassination and regicide. In Richard III, that effect had been compounded by the presence throughout the play of a battery of providential signs, dreams, prophecies and omens. It also discusses the Titus providence, which is defined as the intervention of the supernatural and the prophetic directly into events. The chapter analyzes the “Titus Andronicus” that contains the structures of a typical criminal prosecution for murder. It also looks into Saturninus' failure to observe the conventional legal structures as a central aspect of his emergence as a tyrant.","PeriodicalId":184704,"journal":{"name":"Hamlet's Choice","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124468292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter highlights how William Shakespeare's plays advert directly to its own generic mixedness and hybridity. It mentions Polonius' famous commendation of the players and Hamlet's disquisition on the purpose of playing. It also analyzes the extended speech that described Pyrrhus' revenge upon Priam as a language of speech that reproduces and parodies a certain sort of Senecan tragedy. The chapter describes how Hamlet starts out by aligning itself with Senecan models and prototypes. It discusses Shakespeare 's new version of Hamlet that was designed almost simultaneously to elicit, frustrate, and transcend a range of audience expectations. It also outlines Hamlet's instructions to the actors on how he wants his play acted that are framed against a satiric account that doubles as a denunciation of a style of acting with which the audience would have been familiar.
{"title":"The (providential) purposes of playing","authors":"Peter Lake","doi":"10.2307/j.ctv12sdz9d.11","DOIUrl":"https://doi.org/10.2307/j.ctv12sdz9d.11","url":null,"abstract":"This chapter highlights how William Shakespeare's plays advert directly to its own generic mixedness and hybridity. It mentions Polonius' famous commendation of the players and Hamlet's disquisition on the purpose of playing. It also analyzes the extended speech that described Pyrrhus' revenge upon Priam as a language of speech that reproduces and parodies a certain sort of Senecan tragedy. The chapter describes how Hamlet starts out by aligning itself with Senecan models and prototypes. It discusses Shakespeare 's new version of Hamlet that was designed almost simultaneously to elicit, frustrate, and transcend a range of audience expectations. It also outlines Hamlet's instructions to the actors on how he wants his play acted that are framed against a satiric account that doubles as a denunciation of a style of acting with which the audience would have been familiar.","PeriodicalId":184704,"journal":{"name":"Hamlet's Choice","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129981774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter concentrates on the play “Hamlet,” which is conventionally regarded as a revenge tragedy. It reviews the critical commentary that that centred on the topos of Hamlet's “delay” that was predicated upon that assumption. It also mentions the introduction of the genre called the Histories, in which the Folio dissolved the kinship between tragedy and history. The chapter examines how Hamlet speaks to contemporary political concerns and circumstances. It also describes staging of Hamlet from a crucial moment of dynastic change in Danish history, in which Denmark is portrayed as an elective monarchy. It also talks about the English monarchy that was essentially elective in its structure or considered as a free hereditary monarchy.
{"title":"Hamlet with the confessional and succession politics left in","authors":"Peter Lake","doi":"10.2307/j.ctv12sdz9d.9","DOIUrl":"https://doi.org/10.2307/j.ctv12sdz9d.9","url":null,"abstract":"This chapter concentrates on the play “Hamlet,” which is conventionally regarded as a revenge tragedy. It reviews the critical commentary that that centred on the topos of Hamlet's “delay” that was predicated upon that assumption. It also mentions the introduction of the genre called the Histories, in which the Folio dissolved the kinship between tragedy and history. The chapter examines how Hamlet speaks to contemporary political concerns and circumstances. It also describes staging of Hamlet from a crucial moment of dynastic change in Danish history, in which Denmark is portrayed as an elective monarchy. It also talks about the English monarchy that was essentially elective in its structure or considered as a free hereditary monarchy.","PeriodicalId":184704,"journal":{"name":"Hamlet's Choice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128226053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter analyzes how the Andronici might have recalled to some contemporaries the situation of Elizabethan Catholics. The chapter talks about the tyranny of Andronici that operates at a number of levels and through a series of linked networks of evil counsel and of sexual or sexualized corruption and influence. It also describes the figure of Saturninus, who, from the outset, reveals himself as the stuff of which tyrants are made. The chapter points out how Saturninus is shown to be a creature of his passions, as evidenced by his instant attraction and attachment to Tamora. It also discusses how the play “Titus Andronicus” presented the impulses that lie behind aims that are quintessentially “feminine.”
{"title":"Tyranny delineated","authors":"P. Lake","doi":"10.2307/j.ctv12sdz9d.7","DOIUrl":"https://doi.org/10.2307/j.ctv12sdz9d.7","url":null,"abstract":"This chapter analyzes how the Andronici might have recalled to some contemporaries the situation of Elizabethan Catholics. The chapter talks about the tyranny of Andronici that operates at a number of levels and through a series of linked networks of evil counsel and of sexual or sexualized corruption and influence. It also describes the figure of Saturninus, who, from the outset, reveals himself as the stuff of which tyrants are made. The chapter points out how Saturninus is shown to be a creature of his passions, as evidenced by his instant attraction and attachment to Tamora. It also discusses how the play “Titus Andronicus” presented the impulses that lie behind aims that are quintessentially “feminine.”","PeriodicalId":184704,"journal":{"name":"Hamlet's Choice","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121305792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：