The Masks of Anthony and CleopatraThe Masks of Anthony and Cleopatra follows the pattern of Marvin Rosenberg's four earlier Masks books and offers a sensitive interpretation of the play based on extensive reading of both literary criticism and performance reviews. In the middle of this play of clashing values and great conflicting personalities, the unhappy Octavia - sister of the ambitious Octavius Caesar and newly married to the heroic Mark Anthony - sums up the ambiguity of her divided world in her heart-wrenching lament: Husband win, win brother, Prays and destroys the prayer; no midway 'Twixt these extremes at all. In his analysis, Marvin Rosenberg sets out to steer a path between the "extremes" of Rome and Egypt and all they stand for: and to explore the relentless "to and back" confrontation of their different sets of values which leads ultimately to destruction. What his study reveals is a world of endless oppositions and ambiguities. Reason (policy and expediency) is pitted against emotion (love and enduring relationship); the personal and private is balanced against the public and universal; the human is juxtaposed with the divine, the heroic set against the mundane and petty. Great complex characters oppose each other and are divided within themselves, both on the wide stage of the world and within their own personalities. The language is full of antithesis and oxymorons: and the most magnificent poetry is placed alongside the most simple and moving of expressions. |
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Turinys
| 41 | |
| 70 | |
| 80 | |
| 86 | |
Act I Scene iii | 104 |
Octavius | 118 |
Act I Scene iv | 123 |
Act I Scene v | 133 |
Act III Scene xiii | 293 |
Act Four | 315 |
Act IV Scene i | 317 |
Act IV Scene ii | 320 |
Act IV Scene iii | 326 |
Act IV Scene iv | 329 |
Act IV Scene v | 335 |
Act IV Scene vi | 337 |
Act Two | 143 |
Act II Scene i | 145 |
Act II Scene ii | 151 |
Act II Scene iii | 174 |
Act II Scene iv | 180 |
Act II Scene v | 181 |
Act II Scene vi | 197 |
Act II Scene vii | 207 |
Act Three | 225 |
Act III Scene i | 227 |
Act III Scene ii | 231 |
Act III Scene iii | 239 |
Act III Scene iv | 246 |
Act III Scene v | 251 |
Act III Scene vi | 254 |
Act III Scene vii | 262 |
Act III Scenes viii ix and x | 272 |
Act III Scene xi | 278 |
Act III Scene xii | 288 |
Act IV Scene vii | 341 |
Act IV Scene viii | 344 |
Act IV Scene ix | 349 |
Act IV Scenes x xi xii and xiii | 352 |
Act IV Scene xiv | 362 |
Act IV Scene xv | 379 |
Act Five | 393 |
Act V Scene i | 395 |
Act V Scene ii | 403 |
Is Anthony and Cleopatra a Tragedy? | 473 |
Epilogue | 480 |
A Note on the Historical Cleopatra 69 BC30 BC | 482 |
Critical and Theatrical Bibliographies | 489 |
Critical Bibliography | 491 |
Theatrical Bibliography | 532 |
Tributes from Marvin Rosenbergs Colleagues and Friends | 595 |
Index | 597 |
Kiti leidimai - Peržiūrėti viską
Pagrindiniai terminai ir frazės
action actor Anthony Anthony's Antony and Cleopatra appearance arms audience August battle become begins body Caesar characters Charmian critic Daily death direction director edited Egypt Egyptian emotion Enobarbus Enter Eros face fear feel final Folio follow fortune friends give hand head hear heart human imagining Iras July June kind language later laugh leave Lepidus live London look March mean Menas Messenger mind moment moved never noble November Observer Octavius October once perhaps play Plutarch Pompey present Press production Queen ready Reviews Roman Rome scene seems seen sense Shake Shakespeare share soldiers sometimes sound speak speech stage subtext suggests surely sword tell Theatre thee thou thought touch Tragedy turns University usually voice watching woman women wonder York
Populiarios ištraukos
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Bibliografinė informacija
| Pavadinimas | The Masks of Anthony and Cleopatra |
| Autorius | Mary Rosenberg |
| Redaktorius | Mary Rosenberg |
| Leidimas | iliustruotas |
| Leidėjas | University of Delaware Press, 2006 |
| ISBN | 0874139244, 9780874139242 |
| Ilgis | 605 psl. |
| Eksportuoti šaltinį | BiBTeX EndNote RefMan |