By William Shakespeare, Jonathan Bate
"A younger guy married is a guy that's marr'd."
--All's good That Ends Well
Eminent Shakespearean students Jonathan Bate and Eric Rasmussen offer a clean new version of this vintage play approximately gender, hope, and sexual love.
THIS quantity additionally contains greater than 100 PAGES OF specific FEATURES:
• an unique advent to All's good That Ends Well
• incisive scene-by-scene synopsis and research with important evidence concerning the work
• statement on earlier and present productions in accordance with interviews with best administrators, actors, and designers
• images of key RSC productions
• an outline of Shakespeare's theatrical profession and chronology of his plays
Ideal for college kids, theater pros, and normal readers, those smooth and obtainable variations from the Royal Shakespeare corporation set a brand new average in Shakespearean literature for the twenty-first century.
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Additional info for All's Well That Ends Well
Wilson’s Elizabethan and Jacobean (1945) provided the first application of this new view to, inter alia, Webster. Wilson’s thesis is simply put: ‘The dramatists, alike with the poets and prose writers, assumed a Christian universe. 22 In their depiction of tragic events the dramatists investigate the problem of evil and suffering, but do so within an orthodox Christian framework. In a chapter on ‘John Webster’ in his Poets and Storytellers (1949), Lord David Cecil argues that Webster views the world from a Calvinist perspective.
Interestingly, however, Lucas adds a new dimension to discussion of the dead man’s hand in The Duchess of Malfi when he writes: ‘Too many of the present generation have stumbled about in the darkness among month-old corpses on the battle-fields of France to be much impressed by the falsetto uproar which this piece of “Business” occasioned in nineteenth-century minds’. ‘And as for dances of madmen’, Lucas continues, ‘to the ordinary Elizabethan such things were a familiar piece of entertainment for a comedy or a wedding’ (33–4).
Lucas was the last of a breed, more closely analytic of The Duchess of Malfi than Swinburne or Brooke, but employing the appreciative mode deriving originally from Lamb. T. S. Eliot was the first of a new breed, making a concerted effort to determine why a literary work succeeds or fails, supplying specific reasons for this, and rejecting what he calls ‘opinion or fancy’. It should be noted, however, that Eliot actually wrote very little about Webster. His comment, in 1924, that Webster provides ‘an interesting example of a very great literary and dramatic genius directed towards chaos’,10 has achieved the same status as Shaw’s ‘Tussaud laureate’, but it was made en passant in his essay ‘Four Elizabethan Dramatists’, in which he is primarily concerned to demonstrate both that there were definite dramatic conventions that Webster and his fellow-dramatists observed, and that ‘the aim of the Elizabethans was to attain complete realism without surrendering any of the advantages which as artists they observed in unrealistic conventions’.