The Masks of Othello: The Search for the Identity of Othello, Iago, and Desdemona by Three Centuries of Actors and CriticsUniversity of Delaware Press, 1992 - 313 من الصفحات In what Norman Sanders has termed [a] now classic study, noted Shakespearean Marvin Rosenberg sets out to discover how the complex, troubled characters of the play have been interpreted by actors and critics from Shakespeare's time to the present. |
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الصفحة 14
... here suggests an inner shape , of affliction , of pain , of a governing agony that " mov'd the heart " for Othello.22 The glimpse is of a " noble murderer . " Of the lago image , two hints are suggestive . 14 THE BEGINNING.
... here suggests an inner shape , of affliction , of pain , of a governing agony that " mov'd the heart " for Othello.22 The glimpse is of a " noble murderer . " Of the lago image , two hints are suggestive . 14 THE BEGINNING.
الصفحة 20
... agony which he appeared in , when he examined the circumstances of the hand- kerchief . . . the mixture of love that intruded upon his mind upon the innocent answers Desdemona makes , betrayed in his gestures such passions , as would ...
... agony which he appeared in , when he examined the circumstances of the hand- kerchief . . . the mixture of love that intruded upon his mind upon the innocent answers Desdemona makes , betrayed in his gestures such passions , as would ...
الصفحة 34
... agony . But some of the greatest failed . Why ? The contemporary theater text , which diminished the hu- manity and exoticism of the Moor , seems to indicate that a proper , neoclassic hero was aimed at . By mid - century at the latest2 ...
... agony . But some of the greatest failed . Why ? The contemporary theater text , which diminished the hu- manity and exoticism of the Moor , seems to indicate that a proper , neoclassic hero was aimed at . By mid - century at the latest2 ...
الصفحة 35
... agony . Hence in Act IV , i , where Shakespeare devel- oped the sexual imagery to a crucial pitch , the acting texts of about 1760 indicate a standard , bone - deep incision . At first the initial twenty - nine lines were left intact ...
... agony . Hence in Act IV , i , where Shakespeare devel- oped the sexual imagery to a crucial pitch , the acting texts of about 1760 indicate a standard , bone - deep incision . At first the initial twenty - nine lines were left intact ...
الصفحة 40
لقد وصلت إلى حد العرض المسموح لهذا الكتاب.
لقد وصلت إلى حد العرض المسموح لهذا الكتاب.
المحتوى
5 | |
16 | |
29 | |
34 | |
THE NINETEENTH CENTURY | 55 |
Kean | 61 |
Macready Fechter Irving | 70 |
Booth | 80 |
The Modern Othello | 145 |
The Modern Iago | 155 |
OTHELLO AND THE CRITICS | 161 |
In Defense of Iago | 166 |
In Defense of Othello | 185 |
In Defense of Desdemona | 206 |
In Defense of the Play I | 218 |
In Defense of the Play II | 230 |
Forrest | 89 |
Salvini | 102 |
The Victorian Iago | 120 |
The Victorian Desdemona | 135 |
THE TWENTIETH CENTURY | 141 |
A KIND WORD FOR BOWDLER | 244 |
NOTES | 257 |
INDEX | 303 |
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
A. C. Bradley acting action actors actress agony Alger Athenaeum audience Booth Bowdler Brabantio Cassio century character Cinthio's critics Cyprus demona Desdemona dignity dramatic edition Edmund Kean Edwin Edwin Booth Elizabethan Ellen Terry Emilia emotion English erotic evil expressed Fanny Kemble Fechter feeling Forrest Garrick Gentleman grief grieved Moor Hazlitt heart Henry Irving hero honest human Iago Iago's Ibid inner interpretation Irving jealousy Kean Kean's Kemble lago language London look Macready mind modern Moor's moral motivation murder nature noble Othello passion performance Peter Fleming physical imagery pity play play's players playwright praise refined Review Robeson Roderigo Rymer Salvini scene seemed sense sexual Shake Shakespeare Smock Alley soliloquies soul Spectator speech stage Stoll suggest tears tenderness theater theatrical Thomas Bowdler thought tion Tommaso Salvini tragedy troubled Variorum Victorian villain violence visual voice whore wife woman words wrote York
مقاطع مشهورة
الصفحة 22 - The spirit-stirring drum, the ear-piercing fife, The royal banner ; and all quality. Pride, pomp, and circumstance of glorious war ! And O, you mortal engines, whose rude throats The immortal Jove's dread clamours counterfeit, Farewell ! Othello's occupation's gone ! lago.
الصفحة 38 - O curse of marriage, That we can call these delicate creatures ours, And not their appetites! I had rather be a toad, And live upon the vapour of a dungeon, Than keep a corner in the thing I love For others
الصفحة 236 - Oth. I look down towards his feet; but that's a fable. If that thou be'st a devil, I cannot kill thee.
الصفحة 96 - Of human dealings. If I do prove her haggard, Though that her jesses were my dear heart-strings, I'd whistle her off, and let her down the wind, To prey at fortune.
الصفحة 45 - My story being done, She gave me for my pains a world of sighs: She swore, in faith, 'twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful...
الصفحة 258 - So have I seen, when Caesar would appear, And on the stage at half-sword parley were, Brutus and Cassius, oh how the audience Were ravished! with what wonder they went thence. When some new day they would not brook a line Of tedious, though well laboured, Catiline; Sejanus too was irksome, they prized more Honest lago or the jealous Moor.
الصفحة 84 - Excellent wretch ! Perdition catch my soul, But I do love thee ! and when I love thee not Chaos is come again.
الصفحة 36 - The ordinary method of making an hero is to clap a huge plume of feathers upon his head, which rises so very high that there is often a greater length from his chin to the top of his head than to the sole of his foot.
الصفحة 46 - A fixed figure for the time of scorn To point his slow unmoving finger at ! Yet could I bear that too ; well, very well : But there, where I have garner'd up my heart, Where either I must live, or bear no life...