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Read e-book online A Companion to Shakespeare's Works, Volume 4: The Poems, PDF

By Richard Dutton, Jean E. Howard (eds.)

ISBN-10: 0470996560

ISBN-13: 9780470996560

ISBN-10: 0631226354

ISBN-13: 9780631226352

The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely finished photograph of present Shakespeare feedback. This quantity appears to be like at Shakespeare’s poems, challenge comedies and past due performs.

  • Contains unique essays on Troilus and Cressida, degree for degree, All's good That Ends good, Venus and Adonis, The Rape of Lucrece, and The Sonnets, in addition to Pericles, The Winter's story, Cymbeline, The Tempest, Henry VIII and The Noble Kinsmen.
  • Includes 11 essays on such themes because the reception heritage of the sonnets, collaboration in Shakespeare's center and overdue performs, the typical type of Shakespeare's overdue performs, The Tempest in functionality, and the relation of Shakespeare's "problem performs" to the paintings of latest dramatists.
  • Brings jointly new essays from a various, foreign team of students.
  • Complements David Scott Kastan's A better half to Shakespeare (1999), which considering Shakespeare as an writer in his historic context.
  • Offers a provocative roadmap to Shakespeare stories.

Chapter 1 Shakespeare's Sonnets and the background of Sexuality: A Reception background (pages 4–26): Bruce R. Smith
Chapter 2 The booklet of alterations in a Time of switch: Ovid's Metamorphoses in Post?Reformation England and Venus and Adonis (pages 27–45): Dympna Callaghan
Chapter three Shakespeare's challenge performs and the Drama of His Time: Troilus and Cressida, All's good That Ends good, degree for degree (pages 46–68): Paul Yachnin
Chapter four The Privy and Its Double: Scatology and Satire in Shakespeare's Theatre (pages 69–88): Bruce Boehrer
Chapter five Hymeneal Blood, Interchangeable girls, and the Early smooth Marriage financial system in degree for degree and All's good That Ends good (pages 89–105): Theodora A. Jankowski
Chapter 6 forms of Collaboration in Shakespeare's challenge performs and overdue performs (pages 106–128): John Jowett
Chapter 7 “What's in a Name?” Tragicomedy, Romance, or past due Comedy (pages 129–149): Barbara A. Mowat
Chapter eight model: Shakespeare and Beaumont and Fletcher (pages 150–174): Russ McDonald
Chapter nine position and area in 3 past due performs (pages 175–193): John Gillies
Chapter 10 The Politics and know-how of Spectacle within the overdue performs (pages 194–215): David M. Bergeron
Chapter eleven The Tempest in functionality (pages 216–239): Diana E. Henderson
Chapter 12 What It sounds like For a Boy: Shakespeare's Venus and Adonis (pages 240–258): Richard Rambuss
Chapter thirteen Publishing disgrace: The Rape of Lucrece (pages 259–274): Coppelia Kahn
Chapter 14 The Sonnets: series, Sexuality, and Shakespeare's Loves (pages 275–301): Valerie Traub
Chapter 15 Troilus and Cressida (pages 302–315): Linda Charnes
Chapter sixteen starting Doubts Upon the legislation: degree for degree (pages 316–332): Karen Cunningham
Chapter 17 “Doctor She”: therapeutic and intercourse in All's good That Ends good (pages 333–347): Barbara Howard Traister
Chapter 18 “You now not your baby good loving”: textual content and relations constitution in Pericles (pages 348–364): Suzanne Gossett
Chapter 19 “Imagine Me, mild Spectators”: Iconomachy and The Winter's story (pages 365–388): Marion O'Connor
Chapter 20 Cymbeline: Patriotism and function (pages 389–407): Valerie Wayne
Chapter 21 “Meaner Ministers”: Mastery, Bondage, and Theatrical hard work within the Tempest (pages 408–426): Daniel Vitkus
Chapter 22 Queens and the constitution of historical past in Henry VIII (pages 427–444): Susan Frye
Chapter 23 combined Messages: The Aesthetics of the 2 Noble Kinsmen (pages 445–461): Julie Sanders

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Additional info for A Companion to Shakespeare's Works, Volume 4: The Poems, Problem Comedies, Late Plays

Sample text

Indeed, had it not been for the dress and the closely cropped hair, one would have said that the face, with its dreamy wistful eyes, and its delicate scarlet lips, was the face of a girl. ” The reason for Cyril’s dedication to the theory is patent: he is just such a person himself. The uncle who raised him thought him effeminate, and at Eton Cyril turned out to be good at riding and fencing but despised football. “The two things that really gave him pleasure were poetry and acting” (p. 52). When the forgery is exposed, Cyril commits suicide.

J. ) Homosexuality in Renaissance and Enlightenment England: Literary Representations in Historical Context. New York: Harrington Park Press. Chalmers, A. ) (1810). The Works of the English Poets, Volume 5. London: Printed for J. Johnson et al. Crompton, L. (1985). Byron and Greek Love: Homophobia in 19th-Century England. Berkeley: University of California Press. de Grazia, M. (1991). Shakespeare Verbatim: The Reproduction of Authenticity and the 1790 Apparatus. Oxford: Clarendon Press. —— (2000).

They are by turns artificial, frivolous, arcane” (Hulse 1981: 3). Another critic claims nothing can “deepen the significance of the poem, which appeals only to the sense” (Wilkinson, in Kolin 1997: 419). Critics have too often accepted the moralistic view of the poetry expounded in the period by its detractors, or at best have claimed, erroneously in my view, that the poems are courtly and Italianate (Bush 1997: 97), on which grounds much fault has been found with the homely rural and allegedly unsophisticated aspects of Shakespeare’s poem.

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A Companion to Shakespeare's Works, Volume 4: The Poems, Problem Comedies, Late Plays by Richard Dutton, Jean E. Howard (eds.)

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