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The Dramaturgy of Shakespeare's Romances |
"Cymbeline," "The Winter's Tale," and "The Tempest"--three of Shakespeare's final plays diverge from Shakepeare's usual standards. Generically, stylistically, and dramatically, they each embrace hauntingly familiarShakespearean themes and incidents. However, with comic devices colliding with tragic passions, mimetic actions that give way to spectacle, and drama that yields to narrative, everything Shakespearean has undergone a puzzling transformation. Barbara A. Mowat argues that when a dramatist selects a genre, a theatrical style, a narrative or dramatic mode, he is consciously choosing a way of creating a certain kind of experience. Thus, by confronting the comic form with the tragic, the realistic with the artificial, the dramatic with the narrative, Shakespeare makes meaning in a new way. He creates a kind of play that frees romance from the traditional bounds of his early dramas.
| Indice e argomenti trattati |
| Acknowledgments | | ix | | | Prologue | | 1 | | | Chapter I "Doleful Matter Merrily Set Down" Tragedy and Comedy in the Romances |
| | 5 | | | Chapter II "A Very Pleasant Thing Indeed, and Sung Lamentably": Dramatic Tactics in the Romances |
| | 35 | | | Chapter III "So Like an Old Tale": Dramatic Strategy in the Romances |
| | 69 | | | Chapter IV The Romances as Open Form Drama |
| | 95 | | | Chapter V Form and Meaning: Some Implications |
| | 111 | | | Appendix A Aesthetic Distance and Dramatic Illusion | | 121 | | | Appendix B Brief Notes on Greek Romance | | 129 | | | Notes | | 133 | | | List of Works Cited | | 151 | | | Index | | 161 | |
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