By Richard Dutton, Jean E. Howard (eds.)
The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely complete photo of present Shakespeare feedback. This quantity appears 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 subject matters because the reception heritage of the sonnets, collaboration in Shakespeare's heart and past due performs, the well-known type of Shakespeare's past due 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, overseas team of students.
- Complements David Scott Kastan's A significant other to Shakespeare (1999), which involved in Shakespeare as an writer in his old context.
- Offers a provocative roadmap to Shakespeare experiences.
Chapter 1 Shakespeare's Sonnets and the background of Sexuality: A Reception heritage (pages 4–26): Bruce R. Smith
Chapter 2 The e-book of adjustments in a Time of swap: 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 ladies, and the Early glossy Marriage economic system in degree for degree and All's good That Ends good (pages 89–105): Theodora A. Jankowski
Chapter 6 kinds 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 overdue Comedy (pages 129–149): Barbara A. Mowat
Chapter eight type: Shakespeare and Beaumont and Fletcher (pages 150–174): Russ McDonald
Chapter nine position and house 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 beginning 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 kinfolk 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 exertions within the Tempest (pages 408–426): Daniel Vitkus
Chapter 22 Queens and the constitution of heritage 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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Extra info for A Companion to Shakespeare's Works, Volume 4: The Poems, Problem Comedies, Late Plays
Gives any idea of the tortured relationship between the speaker and the dark lady. Neither poem makes any explicit reference to the lady, her darkness, or her sexual treachery. What of the fair young man? He, too, is absent. Although 18 sonnets from the group 1–126 are included in The Golden Treasury, not a single one refers explicitly to the young man. The context in which the reader is expected to view the sonnets is created by the first six poems in Book One. ” The poems that follow, Marlowe’s “Come live with me and be my love” and the anonymous song lyric “Fain would I change that note / To which fond love has charmed me,” maintain the amorous cast of the episode but keep it utterly non-specific.
For nature beeing once corrupt and knowledge blynded quyght By Adams fall, those little seedes and sparkes of heavenly lyght That did as yit remayne in man, endevering foorth to burst And wanting grace and powre too growe too that they were at furst, Too superstition did decline: and drave the fearefull mynd, Strange woorshippes of the living God in creatures for too fynd. (Golding Preface 1–10) Ovid was Golding’s last printed translation of pagan imaginative literature (Braden 1978: 12),3 and the fact that he translated seven works of Calvin, the first exactly 30 Dympna Callaghan contemporary with Ovid, is something of a puzzle, even though it also explains Golding’s anxiety to offer Christian rationales and explanations of the mythological original (ibid: 8).
Was a boy actor named Willie Hughes. All the competing theories of Mr. W. H’s identity from the eighteenth century and after are considered. The reluctance of commentators since Malone to push the question of Shakespeare’s sexuality too far is registered even by the character in the story who concocts the theory, Cyril Graham. The first-person narrator of the story hears about Cyril’s theory second hand, from Cyril’s friend Erskine. “The problem he pointed out,” Erskine tells the narrator, was this: Who was that young man of Shakespeare’s day who, without being of noble birth or even of noble nature, was addressed by him in terms of such passionate adoration that we can but wonder at the strange worship, and are almost afraid to turn the key that unlocks the mystery of the poet’s heart?
A Companion to Shakespeare's Works, Volume 4: The Poems, Problem Comedies, Late Plays by Richard Dutton, Jean E. Howard (eds.)