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Although best known for his plays, William Shakespeare (1564 -
1616) was also a poet who achieved extraordinary depth and variety
in only a few key works. This edition of his poetry provides
detailed notes, commentary and appendices resulting in an
academically thorough and equally accessible edition to
Shakespeare's poetry. The editors present his non-dramatic poems in
the chronological order of their print publication: the narrative
poems Venus and Adonis and The Rape of Lucrece; the metaphysical
'Let the Bird of Loudest Lay' (often known as The Phoenix and the
Turtle); all 154 Sonnets and A Lover's Complaint. In headnotes and
extensive annotations to the texts, Cathy Shrank and Raphael Lyne
elucidate historical contexts, publication histories, and above all
the literary and linguistic features of poems whose subtleties
always reward careful attention. Substantial appendices trace the
sources for Shakespeare's narrative poems and the controversial
text The Passionate Pilgrim, as well as providing information about
poems posthumously attributed to him, and the English sonnet
sequence. Shrank and Lyne guide readers of all levels with a
glossary of rhetorical terms, an index of the poems (titles and
first lines), and an account of Shakespeare's rhymes informed by
scholarship on Elizabethan pronunciation. With all these scholarly
resources supporting a newly edited, modern-spelling text, this
edition combines accessibility with layers of rich information to
inform the most sophisticated reading.
Fresh explorations of the tragicomic drama, setting the familiar
plays of Shakespeare and his contemporaries alongside Irish and
European drama. Tragicomedy is one of the most important dramatic
genres in Renaissance literature, and the essays collected here
offer stimulating new perspectives and insights, as well as
providing broad introductions to arguably lesser-known European
texts. Alongside the chapters on Classical, Italian, Spanish, and
French material, there are striking and fresh approaches to
Shakespeare and his contemporaries -- to the origins of mixed genre
in English, to the development of Shakespearean and Fletcherian
drama, to periodization in Shakespeare's career, to the language of
tragicomedy, and to the theological structure of genre. The
collection concludes with two essays on Irish theatre and its
interactions with the London stage, further evidence of the
persistent and changing energy of tragicomedy in the period.
Contributors: SARAH DEWAR-WATSON, MATTHEW TREHERNE, ROBERT HENKE,
GERAINT EVANS, NICHOLAS HAMMOND, ROSKING, SUZANNE GOSSETT, GORDAN
MCMULLAN, MICHAEL WINMORE, JONATHAN HOPE, MICHAEL NEILL, LUCY
MUNRO, DEANA RANKIN
Although best known for his plays, William Shakespeare (1564 -
1616) was also a poet who achieved extraordinary depth and variety
in only a few key works. This edition of his poetry provides
detailed notes, commentary and appendices resulting in an
academically thorough and equally accessible edition to
Shakespeare's poetry. The editors present his non-dramatic poems in
the chronological order of their print publication: the narrative
poems Venus and Adonis and The Rape of Lucrece; the metaphysical
'Let the Bird of Loudest Lay' (often known as The Phoenix and the
Turtle); all 154 Sonnets and A Lover's Complaint. In headnotes and
extensive annotations to the texts, Cathy Shrank and Raphael Lyne
elucidate historical contexts, publication histories, and above all
the literary and linguistic features of poems whose subtleties
always reward careful attention. Substantial appendices trace the
sources for Shakespeare's narrative poems and the controversial
text The Passionate Pilgrim, as well as providing information about
poems posthumously attributed to him, and the English sonnet
sequence. Shrank and Lyne guide readers of all levels with a
glossary of rhetorical terms, an index of the poems (titles and
first lines), and an account of Shakespeare's rhymes informed by
scholarship on Elizabethan pronunciation. With all these scholarly
resources supporting a newly edited, modern-spelling text, this
edition combines accessibility with layers of rich information to
inform the most sophisticated reading.
Raphael Lyne addresses a crucial Shakespearean question: why do
characters in the grip of emotional crises deliver such
extraordinarily beautiful and ambitious speeches? How do they
manage to be so inventive when they are perplexed? Their dense,
complex, articulate speeches at intensely dramatic moments are
often seen as psychological - they uncover and investigate
inwardness, character and motivation - and as rhetorical - they
involve heightened language, deploying recognisable techniques.
Focusing on A Midsummer Night's Dream, Othello, Cymbeline and the
Sonnets, Lyne explores both the psychological and rhetorical
elements of Shakespeare's language. In the light of cognitive
linguistics and cognitive literary theory he shows how Renaissance
rhetoric could be considered a kind of cognitive science, an
attempt to map out the patterns of thinking. His study reveals how
Shakespeare's metaphors and similes work to think, interpret and
resolve, and how their struggle to do so results in extraordinary
poetry.
This book uses theories of memory derived from cognitive science to
offer new ways of understanding how literary works remember other
literary works. Using terms derived from psychology - implicit and
explicit memory, interference and forgetting - Raphael Lyne shows
how works by Renaissance writers such as Wyatt, Shakespeare,
Jonson, and Milton interact with their sources. The poems and plays
in question are themselves sources of insight into the workings of
memory, sharing and anticipating some scientific categories in the
process of their thinking. Lyne proposes a way forward for
cognitive approaches to literature, in which both experiments and
texts are valued as contributors to interdisciplinary questions.
His book will interest researchers and upper-level students of
renaissance literature and drama, Shakespeare studies, memory
studies, and classical reception.
This book uses theories of memory derived from cognitive science to
offer new ways of understanding how literary works remember other
literary works. Using terms derived from psychology - implicit and
explicit memory, interference and forgetting - Raphael Lyne shows
how works by Renaissance writers such as Wyatt, Shakespeare,
Jonson, and Milton interact with their sources. The poems and plays
in question are themselves sources of insight into the workings of
memory, sharing and anticipating some scientific categories in the
process of their thinking. Lyne proposes a way forward for
cognitive approaches to literature, in which both experiments and
texts are valued as contributors to interdisciplinary questions.
His book will interest researchers and upper-level students of
renaissance literature and drama, Shakespeare studies, memory
studies, and classical reception.
Raphael Lyne addresses a crucial Shakespearean question: why do
characters in the grip of emotional crises deliver such
extraordinarily beautiful and ambitious speeches? How do they
manage to be so inventive when they are perplexed? Their dense,
complex, articulate speeches at intensely dramatic moments are
often seen as psychological - they uncover and investigate
inwardness, character and motivation - and as rhetorical - they
involve heightened language, deploying recognisable techniques.
Focusing on A Midsummer Night's Dream, Othello, Cymbeline and the
Sonnets, Lyne explores both the psychological and rhetorical
elements of Shakespeare's language. In the light of cognitive
linguistics and cognitive literary theory he shows how Renaissance
rhetoric could be considered a kind of cognitive science, an
attempt to map out the patterns of thinking. His study reveals how
Shakespeare's metaphors and similes work to think, interpret and
resolve, and how their struggle to do so results in extraordinary
poetry.
Shakespeare's Late Work is a detailed reading of the plays written
at the end of Shakespeare's career, centering on Pericles,
Cymbeline, The Winter's Tale, and The Tempest. Unlike many previous
studies it considers all the late work, including Henry VIII, The
Two Noble Kinsmen, the revised Folio version of King Lear, and even
what can be ascertained about the lost Cardenio. From this
broadened canon emerge signs of a distinct identity for the late
work. Lyne explores how Shakespeare sets great store in grand
principles--faith in God, love of family, reverence for monarchs,
and belief in theatrical representations of truth. However, there
is also a ubiquitous and structuring irony whereby such principles
are questioned and doubted. Audiences and readers are left with a
difficult but empowering decision whether to believe, or to
question, or to accommodate both faith and skepticism. Alongside
this interest in the new and characteristically "late" qualities of
this phase in Shakespeare's career, Shakespeare's Late Work puts it
in a wider cultural context. A chapter on the collaborations and
broader dramatic relationships with John Fletcher and Thomas
Middleton illuminates how Shakespeare's canon interacts with other
writing of its time. A chapter on how the late work revisits and
reconsiders themes from earlier plays shows that continuity needs
to be remembered alongside novelty. Overall this is an introduction
to the key works of this period which advances a new reading of
them. They emerge as fascinating and dazzling explorations of their
potential and their limitations.
Ovid's Changing Worlds looks at the four most important English imitations of Ovid's Metamorphoses in the English Renaissance. It sheds new light on dealings with the classics in the period and shows that the emergence of English literature from the shadows was a complex and fascinating process.
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