Journal articles: 'Shakespearean Tragedies'

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Dinega, Alyssa W. "Ambiguity as Agent in Pushkin's and Shakespeare's Historical Tragedies." Slavic Review 55, no. 3 (1996): 525–51. http://dx.doi.org/10.2307/2501999.

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The question of Shakespeare's influence on Pushkin's work in the period beginning 1824-25 has often been examined in critical works on Pushkin. This influence has generally been construed as one of the decisive factors in Pushkin's poetic and personal maturation away from his early naive Byronism. At the same time, Pushkin found in Shakespeare a release from the outworn conventions of French classical drama that had until then provided the precepts for writers for the Russian stage. For Pushkin, two specific features of Shakespearean drama were congenial: the abandonment of the three classical unities in favor of the primacy of character in dramatic action, and generic mixtures of comedy and tragedy, poetry and prose.

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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (April 5, 2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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Rather than focusing on the obvious traditions of evaluating Shakespearean tragic heroes, this paper presents a groundbreaking approach to unfold the pattern William Shakespeare follows as he designed his unique characters. This pattern applies to most, if not all, Shakespearean tragic heroes. I argue that Shakespeare himself reveals a great portion of this pattern on the tongue of Lear as the latter disowns Goneril and Regan promising to have “such revenges on [them] both” in King Lear. Lear’s threats bestow four unique aspects that apply not only to his character but they also apply to Shakespearean tragic heroes. Lear’s speech tells us that he is determined to have an awful type of revenge on his daughters. However, the very same speech tells us that he seems uncertain about the method through which he should carry out this revenge. Lear does not express any type of remorse as he pursues his vengeful plans nor should he aim at amnesty. He also admits his own madness as he closes his revealing speech. This research develops these facts about Lear to unfold the unique pattern Shakespeare follows as he portrayed his major tragic figures. This pattern is examined, described and analyzed in King Lear, Othello, and Hamlet. We will find out that the pattern suggested in this study helps us better understand Shakespeare’s tragedies and enables us to provide better explanations for some controversial scenes in the tragedies discussed.

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Dhir, Bani Dayal. "On Shakespearean tragedies dynamics." International Journal of General Systems 42, no. 3 (April 2013): 294–96. http://dx.doi.org/10.1080/03081079.2013.753759.

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Domínguez-Rué, Emma, and Maximilian Mrotzek. "Shakespearean tragedies dynamics: identifying a generic structure in Shakespeare's four major tragedies." International Journal of General Systems 41, no. 7 (October 2012): 667–81. http://dx.doi.org/10.1080/03081079.2012.703386.

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Caputo, Nicoletta. "“The Farcical Tragedies of King Richard III”: The Nineteenth-Century Burlesques." Theatre Survey 62, no. 1 (January 2021): 25–50. http://dx.doi.org/10.1017/s0040557420000460.

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Unlike other Shakespearean tragedies, King Richard III was never turned into a comedy through the insertion of a happy ending. It did, however, undergo a transformation of dramatic genre, as the numerous Richard III burlesques and travesties produced in the nineteenth century plainly show. Eight burlesques (or nine, including a pantomime) were written for and/or performed on the London stage alone. This essay looks at three of these plays, produced at three distinct stages in the history of burlesque's rapid rise and decline: 1823, 1844, and 1868. In focusing on these productions, I demonstrate how Shakespeare burlesques, paradoxically, enhanced rather than endangered the playwright's iconic status. King Richard III is a perfect case study because of its peculiar stage history. As Richard Schoch has argued, the burlesque purported to be “an act of theatrical reform which aggressively compensated for the deficiencies of other people's productions. . . . [It] claimed to perform not Shakespeare's debasement, but the ironic restoration of his compromised authority.” But this view of the burlesques’ importance is incomplete. Building on Schoch's work, I illustrate how the King Richard III burlesques not only parodied deficient theatrical productions but also called into question dramatic adaptations of Shakespeare's plays. In so doing, these burlesques paradoxically relegitimized Shakespeare.

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Vandana Pathak, Vandana Pathak. "Encapsulation of Shakespearean Tragedies, Kanetkar’s Gaganbhedi." International Journal of English and Literature 10, no. 6 (2020): 27–36. http://dx.doi.org/10.24247/ijeldec20205.

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Vandana Pathak, Vandana Pathak. "Encapsulation of Shakespearean Tragedies, Kanetkar’s Gaganbhedi." International Journal of English and Literature 10, no. 6 (2020): 27–36. http://dx.doi.org/10.24247/ijeldec20205.

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Shahida, Shahida. "Leadership and Literature: Insights into Shakespearean Tragedies." Linguistics and Literature Studies 3, no. 1 (January 2015): 18–23. http://dx.doi.org/10.13189/lls.2015.030103.

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Sipra, Muhammad Aslam, and Muhammad Haseeb Nasir. "Comparative Analysis of the Concept of Shakespearean Tragedies." Advances in Language and Literary Studies 5, no. 1 (January 1, 2014): 31–34. http://dx.doi.org/10.7575/aiac.alls.v.5n.1p.31.

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Mahmood, Rasib, Sanna Asghar, and Sadia Safdar. "Journeys from Crimes to Crowns: Literary Representation of Shakespearian Tragedies." Global Regional Review IV, no. III (September 30, 2019): 258–64. http://dx.doi.org/10.31703/grr.2019(iv-iii).29.

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Thinking is ideas banking and everyone wants the encashment of his/her thinking. Man desires to get godly powers through the encashment of his ideas. Some people get power through inheritance while others earn through hard work. The scholars are of the view that religion and fortune favor some men in committing crimes to reach the crowns, while others lose their lives. Human history is full of such incidents where sinners become saints through power. Religious and cultural accounts start preaching and teaching of their nobility. Shakespearean tragedies, in this regard, are highly important where different dramatic characters and historical figures reached to crowns through committing crimes and these characters can be seen in the present age. This research paper is an investigation that how has the act of crime in Shakespeares Hamlet (2006), Macbeth (1990) and King Lear (1897) connected to the accession of crowns?

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Chowdhury, Takad Ahmed. "TREATMENT OF FATE IN SHAKESPEAREAN AND CLASSICAL GREEK TRAGEDIES: A COMPARISON." Academic Journal Perspective : Education, Language, and Literature 8, no. 1 (May 27, 2020): 29. http://dx.doi.org/10.33603/perspective.v8i1.3378.

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Fate is regarded as a central component in tragedy. The significant role of fate is recognized when, despite a character's heroic acts and good intentions, they face death simply because they are doomed to die. But studies confirm that fate does not play a similarly critical role in the tragic denouement of each play. This paper attempts a critical comparison on the role and nature of fate in the downfall of protagonists in the classical Greek and Shakespearean tragedies. By reviewing research-based articles and books, and by reading through selected texts in reader-response approach, this paper attempts to identify the entirely different natures of fate that came into play for the tragic heroesâ€™ downfall as portrayed in these two different ages. The findings manifest that the force behind the collapse of the heroes in the classical Greek tragedies was predominantly fate where the hero had little to do but to become a pawn in the hands of external forces beyond his control, while the force behind the tragic events is not external in the Shakespearean tragedies. Rather, the heroes themselves were, on the whole, responsible for their tragic downfalls due to their internal triggers.

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Conţiu, Lia Codrina. "Time’s Tricephalous Image in Macbeth by William Shakespeare." Theatrical Colloquia 7, no. 2 (December 1, 2017): 213–30. http://dx.doi.org/10.1515/tco-2017-0020.

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Abstract Influenced by the Humanist movement, Shakespeare is preoccupied with time, illustrating it in his lyrics and dramaturgy. If in comedies time has a regenerative character, in the Shakespearean tragedies “the clock” ticks continuously, it is the soundtrack that fulfills the destiny of the character. And Macbeth is perhaps the best example in this respect. Macbeth is hypnotized and haunted by time. Hypnotized by the imagination of a possible future and haunted by a past full of blood and crimes. The hero lives between imagination and memory, and the main catalyst of the play is the tragic interaction between Macbeth and time, with all the psychological and physical tensions that derive from there. The main impact of time on Shakespeare’s tragic heroes is achieved by the actual actions of time that exposes and amplifies tragic defects of heroes (in Macbeth’s case - ambition). As in the Renaissance, myths, images and signs were used in poetics and literature to indicate a teaching, a moral, Shakespeare includes in his work symbols taken from the iconography and mythography available at that time, such as time’s tricephalous image around which Macbeth is “shaped”.

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Mahmood, Anser. "Human Benevolence is Innate to Man as Man Shakespeare’s Art of Characterization with reference to Macbeth." Journal of English Language and Literature 11, no. 2 (April 30, 2019): 1115–19. http://dx.doi.org/10.17722/jell.v11i2.412.

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Shakespearean tragedies stand out in the history of world’s literature for their influential language, insight into character and dramatic ingenuity. It can be safely established that all of the Shakespearean tragedies are based upon the notion that human benevolence is innate to man as man. The current study focuses upon the notion that the Shakespearean heroes are basically good and noble men whose tragic flaw leads to their obliteration. For instance in Macbeth, Lady Macbeth describes Macbeth as “too full o’ milk of human kindness”. The character of Macbeth gives the picture of dissolution within the individual. The character of Macbeth has been analyzed to assert that he seems to suffer from a variance between his head and heart, his duty and his desire, his reckoning and his emotions. A psychological insight to his character reveals that he knows from the first that he is engaged in a ridiculous act: a distressed and paradoxical struggle. With the aid of research methods including Case Study and Close Reading this Qualitative research highlights Macbeth’s lethal proceedings which not only obliterate his peace of mind but also bring turmoil to the macrocosm of the universe, and shows that along with the king he murders his sense of reasoning as well. Hence this study asserts the idea that Shakespearean heroes possess an inherent goodness corroded by the actions of fate or destiny thus resulting in their tragic downfall.

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Sumillera, Rocío G. "Manuel Tamayo y Baus’s Un Drama Nuevo (1867) and the Reception of Hamlet in 19th-Century Spain." ELOPE: English Language Overseas Perspectives and Enquiries 10, no. 1 (May 9, 2013): 71–80. http://dx.doi.org/10.4312/elope.10.1.71-80.

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The present article discusses how Tamayo y Baus appropriates and refashions in Un drama nuevo (1867) the figures of Shakespeare and Yorick, as well as different elements of a number of tragedies by Shakespeare (Hamlet, Romeo and Juliet, Othello), in order to render homage to Shakespearean drama by means of a play that, even if set at the beginning of 17th-century England, particularly addresses the tastes and concerns of 19th-century Spanish audiences. Additionally, this article considers the extent to which the contemporary audience of Tamayo y Baus was acquainted with Shakespeare and Hamlet, taking into account both the translations into Spanish of the play and its performances in Spain up until 1867. The purpose of such an analysis is to speculate on the reception and interpretation of Un drama nuevo at the time of its release, and on the role it had in raising or renewing interest in Hamlet within the Spanish-speaking world.

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Lamzina, Anna Vladislavovna. "To the problem of reception of Shakespearean motifs in dramaturgy of Anna Akhmatova." Litera, no. 12 (December 2020): 84–91. http://dx.doi.org/10.25136/2409-8698.2020.12.33685.

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The subject of this research is the Shakespearean motifs in dramatic compositions of Anna Akhmatova. The research material contains the works of later period – draft of a movie script “On Pilots, or the Blind Mother”, and drama “Enūma Eli&scaron;”, which was destroyed and later restored by the author with numerous authorial commentaries and remarks. Akhmatova carefully examined the “Shakespeare question”, was familiar with his texts in the original, as well as translated a passage from “Macbeth”. She was well-versed in the historical connotations of Shakespeare's tragedies, considering Mary Stuart the prototype of Queen Gertrude and Lady Macbeth, and at the same time, rejected this image applicable to herself and her “alter ego” in literature. The main conclusions of this work consists in determination of the peculiar semantic tone of the set of motifs associated with “Hamlet” and “Macbeth” in dramaturgy of Anna Akhmatova, which includes: usurpation of power and envy of the rightful heir, mother – son conflict projected not only on Shakespeare's dramaturgy, but also on mythology, and through mythology on the author's poetry, motif of “drama within drama”, where masks and pseudonyms disguise the inward nature of the author. The direct and indirect quotations from “Hamlet” and “Macbeth” correlates the indicated set of motifs with biography of the author in “On the Pilots, or the Blind Mother” and “Enūma Eli&scaron;”, which substantiates the novelty of this research.

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Szwach, Agnieszka. "The Injurious and Curative Powers of Herbs: Shakespeare in Herb Gardens." Studia Historyczne 60, no. 2 (238) (December 29, 2018): 47–56. http://dx.doi.org/10.12797/sh.60.2017.02.04.

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For Galen, the best physician was the one who was able to treat his patients by means other than the knife, particularly through diet and drugs. The fact that basic knowledge of pharmacology was not required came under severe criticism in the late fifteenth and early sixteenth centuries. To remedy this situation, herb gardens were established at universities. Some physicians wrote voluminous new herbals based both on the close study of classical pharmacological works, observations and experiments. William Turner (1508–1568), Henry Lyte (1529–1607), John Gerard (1545–1650) and John Parkinson (1567–1650) were the essential figures who established English herbal tradition. This phenomenon was not entirely alien to Shakespeare. The study of tragedies, as presented in this paper, is sufficient to realise how numerous references to both healing and poisonous plants are made in Shakespearean plays.

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Mrotzek, Maximilian, and Emma Domínguez-Rué. "A response to comments on ‘Shakespearean tragedies dynamics’ by Bani Dayal Dhir." International Journal of General Systems 42, no. 3 (April 2013): 297–300. http://dx.doi.org/10.1080/03081079.2013.753760.

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Pakdamanshahri, Fatemeh (Sara). "The Merchant of Venice: An Allegorical Equation of Art and Commodity." Advances in Social Sciences Research Journal 7, no. 1 (January 13, 2020): 178–91. http://dx.doi.org/10.14738/assrj.71.7648.

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John Cage narrates: “...Somebody said that Brecht wanted everybody to think alike. I want everybody to think alike... Everybody looks alike and acts alike, and we’re getting more and more that way. I think everybody should be a machine. I think everybody should be alike.” The interviewer asks Cage: “Isn’t that like pop art?” And consequently, Cage responds: “Yes, that’s what pop art is, liking things.”1 Shakespeare’s plays have long been put under scrutiny, praised, and devalued through various theoretical lenses. Regardless of the innumerable doctrines against which his tragedies and comedies have been over-analyzed, tending to his art in terms of the essence of his works, the artistry of them seems more than crucial. Morality, ethics and individual and collective philosophical readings of Shakespearean plays have coexisted with and mirrored in words, hence literature. There seems to be no way out but to weigh Shakespearean plays against these impossibly heavy concepts. This paper intends to undergo an ethical reading of The Merchant of Venice, through the ideas of Emmanuel Kant and Jeremy Bentham. Consequent to the ethical reading of The Merchant of Venice, the artistic value(s) of it will be discussed; whether one is blessed with an artistic sense or otherwise is a question to be tended to.

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Grady, Hugh. "The Modernity of Western Tragedy: Genealogy of a Developing Anachronism." Publications of the Modern Language Association of America 129, no. 4 (October 2014): 790–98. http://dx.doi.org/10.1632/pmla.2014.129.4.790.

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Since the shift from modernist, formalist, and old historicist methodologies of mid-twentieth-century criticism, tragedy has been a problematic term. In the earlier age of the American New Critics and their British analog F. R. Leavis, it was one of the classic instances of a “timeless” literary category that embodied the “news that stays news” that Ezra Pound thought epitomized the literary. Tragedy was an example par excellence of a genre tied to a permanent human condition—death. As such, however, it was also largely taken for granted in the practice of the New Critics, American and British—one of the large-scale literary categories that could be safely ignored in favor of the strategies of close reading and detecting complex ironies. At times the whole project of defining a larger genre was simply ruled out of order. Kenneth Muir spoke for many in this critical generation when he wrote, “There is no such thing as Shakespearean tragedy. There are only Shakespearean tragedies” (12).

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Azimi, Amin, and Marjan Moosavi. "Mystic Lear and Playful Hamlet: The Critical Cultural Dramaturgy in the Iranian Appropriations of Shakespearean Tragedies." Asian Theatre Journal 36, no. 1 (2019): 144–64. http://dx.doi.org/10.1353/atj.2019.0007.

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Kar, Rahul. "Contemporising the Topos of Shakespearean Dramas: A Comparative (Re)Reading of Memory, Masculinity and Vengeance with special reference to William Shakespeare’s Tragedies and History Plays." LITINFINITE JOURNAL 3, no. 1 (July 2, 2021): 31. http://dx.doi.org/10.47365/litinfinite.3.1.2021.31-38.

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Wortham, Christopher. "The Darker World Within: Evil in the Tragedies of Shakespeare and His Successors by Molly Smith, and: Last Things and Last Plays: Shakespearean Eschatology by Cynthia Marshall." Comparative Drama 28, no. 2 (1994): 261–65. http://dx.doi.org/10.1353/cdr.1994.0018.

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Scheil, Katherine West. "Shakespeare and Violence. By R. A. Foakes. New York: Cambridge University Press, 2003; pp. 224. $70 cloth; $26.99 paper." Theatre Survey 46, no. 1 (May 2005): 161–63. http://dx.doi.org/10.1017/s0040557405370098.

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R. A. Foakes's latest book, Shakespeare and Violence, addresses an area of significant interest in Shakespeare studies. Foakes begins with a general discussion of the prevalence and persistence of violence in both life and literature. He then focuses on the evolution of Shakespeare's use of violence in his histories, tragedies, and romances. The result is a thought-provoking, well-written, and often genuinely interesting study of this subject and its manifestations in Shakespeare's plays.

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Harris, Laurilyn J. "Peter Brook's King Lear: Aesthetic Achievement or Far Side of the Moon?" Theatre Research International 11, no. 3 (1986): 223–39. http://dx.doi.org/10.1017/s0307883300012360.

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In 1965, in an interview in Sight and Sound, Peter Brook eloquently discussed the difficulties of filming Shakespearian plays, decrying the ‘sad history of Shakespeare on the screen’ and denouncing the majority of Shakespearian films as ‘pitiful’ and ‘unspeakably bad’. Speaking at UNESCO's Shakespeare Quatercentenary Celebration in Paris, he said, in essence, that Shakespeare was impossible to film at all. However, the winter of 1968–9 found Brook in Northern Jutland, filming one of Shakespeare's most profoundly intricate tragedies, King Lear. When the film was released in 1970–1, critical reaction ranged from rapture to outrage. Nigel Andrews called Brook's Lear ‘a distinct achievement’, praising the acting, the setting, and, above all, Brook's use of the camera to ‘transcend repre-sentationalism’. Frank Kermode hailed Lear as a ‘fully realized and deeply imagined version of this great work … a masterly conception of the play’. Charles Phillips Reilly cautiously labelled the film ‘a mixed bag’, lauding Paul Scofield's performance as Lear and Brook's understanding of the themes of the play, but criticizing the camera work, especially in the storm sequence. Pauline Kael, the formidable reviewer for The New Yorker, simply said ‘I hated it’, and dismissed the film as ‘gray and cold … the drear far side of the moon’. According to Kael, the concept was ‘second-rate’, the script ‘plotless’, and the actors walking corpses.12 She dubbed the film ‘Peter Brook's “Night of the Living Dead”’.

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Jurak, Mirko. "Some additional notes on Shakespeare : his great tragedies from a Slovene perspective." Acta Neophilologica 38, no. 1-2 (December 1, 2005): 3–48. http://dx.doi.org/10.4312/an.38.1-2.3-48.

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In the first chapter of this study the author stresses the importance of literature and Shakespeare's plays for our age. Although the enigma of Shakespeare's life still concerns many scholars it is relevant only as far as the solutions of some biographical details from Shakespeare's life influence the interpretation of his plays. In the section on feminism the focus of the author's attention is the changed role of women in the present day society as compared to previous centuries. In the final part of the article the role of the main female characters in Shakespeare's great tragedies is discussed. The author suggests that so far their importance has been underestimated and that Shakespeare left some of them open to different interpretations. Hamlet is definitely one of the most popular Shakespeare's plays in Slovenia and in addition to "classical" interpretations of this drama we have seen during the past two decades a number of experimental productions, done by both Slovene and foreign theatrical companies. In Appendix (1) the title of this paper is briefly discussed and the author' a work on Shakespeare is sketched; Appendix (2) presents a rap song on Hamlet written in English by a Slovene author. The song was used in the Glej Eperimental Theatre production (Hamlett/Packard, Ljubljana, 1992).

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Hajduk, Jacek. "Hamlet Szekspira a tragedie Seneki (Shakespeare’s ‘Hamlet’ and Seneca’s Tragedies)." Symbolae Philologorum Posnaniensium Graecae et Latinae 25, no. 1 (January 1, 2015): 109. http://dx.doi.org/10.14746/sppgl.2015.xxv.1.8.

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Amelang, David J. "“A Broken Voice”: Iconic Distress in Shakespeare’s Tragedies." Anglia 137, no. 1 (March 14, 2019): 33–52. http://dx.doi.org/10.1515/ang-2019-0003.

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Abstract This article explores the change in dynamics between matter and style in Shakespeare’s way of depicting distress on the early modern stage. During his early years as a dramatist, Shakespeare wrote plays filled with violence and death, but language did not lose its composure at the sight of blood and destruction; it kept on marching to the beat of the iambic drum. As his career progressed, however, the language of characters undergoing an overwhelming experience appears to become more permeable to their emotions, and in many cases sentiment takes over and interferes with the character’s ability to speak properly. That is, Shakespeare progressively imbued his depictions of distress with a degree of linguistic iconicity previously unheard of in Elizabethan commercial drama. By focusing on the linguistic properties of three passages of iconic distress – Hamlet’s first soliloquy, Othello’s jealous rant, and King Lear’s dying words – this article analyses the rhetorical adjustments Shakespeare undertook in his effort to raise the level of verisimilitude of emotional speech in his plays.1

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Budra, Paul. "Writing the Tragic Self: Richard II's Sad Stories." Renaissance and Reformation 30, no. 4 (January 21, 2009): 5–15. http://dx.doi.org/10.33137/rr.v30i4.11518.

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When Shakespeare has Richard II call for the telling of "sad stories" he is not merely alluding to a tradition of medieval de casibus tragedy, but rather engaging with a well-known vision of historical teleology, popularized in Shakespeare's time by narrative historical tragedies. Shakespeare's audience, largely ignorant of the basic facts of English history, were familiar with this tragic form of history. Richard is a "self-authored subject" who finally brings his represented self into continuity with the de casibus vision.

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Hunt, Maurice. "Jonson vs. Shakespeare: The Roman Plays." Ben Jonson Journal 23, no. 1 (May 2016): 75–100. http://dx.doi.org/10.3366/bjj.2016.0153.

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Critics rarely bring Ben Jonson's two Roman tragedies – Sejanus and Catiline – into proximity with Shakespeare's four Roman tragedies – Titus Andronicus, Julius Caesar, Antony and Cleopatra, and Coriolanus. Yet doing so in terms of some dramatic features they share illuminates qualities of these plays not easily discernible by other approaches to them. This is especially the case when one adds Shakespeare's tragicomedy Cymbeline to this grouping. Establishing metaphysical perspectives based on ironic Christian allusions in all but one of Shakespeare's Roman plays throws into relief a Catholic dimension of Sejanus and religious dynamics of Catiline more involved in this tragedy than previous critics have realized. Bringing Jonson's and Shakespeare's Roman drama into mutual play also focuses the homeopathic, neo-Aristotelian catharsis of Coriolanus by reference to those in Sejanus and Catiline, as well as the dangerous position of historians and poets in Roman society, as evidenced by the fates of Cordus in Sejanus and Cinna in Julius Caesar. The perceived bad verse of the latter writer clinches judgment against him, even as the vile rhymes of the nameless poet in Julius Caesar disqualifies him from forging amity between Cassius and Brutus. Analysis of the complexity of the most complicated character in Jonson's and Shakespeare's tragedies, respectively Brutus and the Cicero of Catiline, reveals that Jonson's orator combines traits identified with three characters of Julius Caesar: Cassius's capacity for cunning practices, Antony's oratorical eloquence, and Brutus's tragically unrealistic, naïve thinking. This inquiry thus suggests something rarely said of Jonson's tragedies: that he was capable of giving a character in tragedy complexity if not equal to that produced by Shakespeare, yet nevertheless approaching it.

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Tiwari, Dr Jai Shankar. "A Study of Minor Characters in William Shakespeare’s Great Tragedies." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 11, 2020): 15. http://dx.doi.org/10.24113/ijellh.v8i2.10384.

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The abstract summarizes the analysis and interpretation of the significance of minor characters in Shakespeare’s major tragedies and concludes that Shakespeare is the greatest creator of characters. His greatness lies of course, in creating and heroic characters like Hamlet, Othello, Lear and Macbeth but what is significant is that even the minor characters are as immortal as the major ones. The great Villain Iago are great characters but the less important characters like Horatio, Fortinbras, Edgar, Cassio and Banquo are equally important. Besides, Shakespeare’s women characters, mostly assigned minor roles, create niche in our heart. Ophelia, Cordelia, Desdemona and Lady Macbeth have their own place. Nobody will forget them. In fact, they bring spice to the development of the plot and so do Horatio Ophelia, Lady Macbeth, Banquo, Macduff, Earl of Gloster , Edgar, Cassio and Emilia in tragedies.

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Doko, Fatbardha. "CLIMATE AS CLIMAX IN ‘KING LEAR’." Knowledge International Journal 28, no. 7 (December 10, 2018): 2349–53. http://dx.doi.org/10.35120/kij28072349f.

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Shakespeare’s tragedies are among the most analyzed and discussed literary works. In his tragedies Shakespeare follows the Aristotelian pattern of drama, so it is easy to notice there all the elements of a tragedy presented in Aristotle’s Poetics. In this paper I will define what climax in literature is and explore the climax of one of the four great tragedies of Shakespeare, that of King Lear. As a masterfully structured play, the central part of the play is the climax itself. But what is the climax of this play, how is it presented, does it have any impact on the characters, how does it change the course of events, etc? Answers to these questions will be given here. As an example of the interactions between men and weather conditions in Shakespeare’s drama, I will explore climate as climax. The climactic moment of the play is the storm, in the 3rd act, when we see the psychological rage of King Lear. Unsurprisingly, Shakespeare exposes the issue of how the local weather durably affects the nature of men as well as by the way their humours are temporarily changed by climate and environment. Yet, I will argue that this issue actually prompts him to reverse traditional points of view in order to show that things also work the other way round. Indeed, in some of his plays, the playwright insists on men’s unfortunate capacities to provoke violent climactic disorders and to generate chaos on earth. So, it is not only the weather and climate that affect the behaviour and humour of people, but the way people feel and behave. The case with King Lear is a perfect example of this problem. The storm that Lear finds himself is actually reflected in his inner state, in his psychological rage due to his disappointment with his two daughters, and facing with the harsh reality for a father, but mostly for being unjust to his younger daughter, Cordelia.

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Rinesi, Eduardo. "Sexo, mentiras y dinero (Notas sobre El mercader de Venecia, de William Shakespeare)." Temas y Debates, no. 15 (March 15, 2013): 101–19. http://dx.doi.org/10.35305/tyd.v0i15.128.

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El mercader de Venecia fue escrita por Shakespeare como una comedia romántica, pero a nosotros nos resulta mucho más fácil leerla y entenderla como una tragedia: como la tragedia de dos hombres solos en medio de un mundo injusto y cruel. Esto es así porque nos resultan intolerables los supuestos que es preciso aceptar para quela pieza funcione como una comedia, pero también porque el texto está abundantemente poblado de elementos trágicos que conviven –como ocurre siempre en Shakespeare– con los cómicos. En este artículo se sugieren dos cosas: que la decisión acerca del género en que conviene leer este drama, como cualquier drama shakespeareano, es una decisión menos estética que política, y que la teoría política puede enriquecerse con una reflexión sobre este tipo de problemas.

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Jubran, Haider Saad Yahya, and Manaar Kamil Sa'eed. "A linguistic Study of Euphemistic Expressions in Shakespearian Tragedies." International Journal of Linguistics 11, no. 3 (June 30, 2019): 87. http://dx.doi.org/10.5296/ijl.v11i3.14611.

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Nowadays, people use euphemism just to avoid naming abstract things and objects directly, since they do not like just to empress other people. By attempting to avoid hurting the emotion of others, there is an attempt to reduce the depressing effects of the words by using another substitution this indicates that at whatever time people approach a responsive topic; they try to use such expression to reduce the harsh influence on listeners. However, the major aim of this research is to analyze the uses of euphemisms in Shakespearian tragedies such as Othello, Macbeth, Romeo and Juliet and Antony and Cleopatra. The research consists of two parts. The theoretical part which provides an introduction about the meaning of euphemism, types, origin, etymology and its functions, while various examples from Shakespeare's tragedies will be discussed in the practical part. It ends with a conclusion which sums up the main findings of the research.

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Procházka, Martin. "Shakespeare and National Mythologizing in Czech Nineteenth Century Drama." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 25–33. http://dx.doi.org/10.1515/mstap-2016-0003.

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The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from an invented account of remote past (the forged Manuscripts of Dvur Kralove and Zelena Hora) and emphasizing its absolute value for the present and future of the Czech nation. While for nationalist leaders Shakespeare’s dramas served as models for “boldly painted heroic characters” of the Czech past, translators, dramatists and poets had to deal with the aspects of Shakespeare’s tragedies and histories which were disrupting the nationalist visions of the past and future. Contrasting the appropriations of King Lear and both parts of Henry IV in the translations and historical plays by the leading Czech dramatist Josef Kajetán Tyl (1808-1852) and the notebooks and dramatic fragments of the major romantic poet Karel Hynek Mácha (1810-1836), the paper will attempt to specify the role of Shakespeare in shaping the historical consciousness of emerging modern Czech culture.

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Dobson, Michael. "Cutting, Interruption, and the End of Hamlet." New Theatre Quarterly 32, no. 3 (June 30, 2016): 269–75. http://dx.doi.org/10.1017/s0266464x16000245.

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In this essay Michael Dobson considers the evolution of certain habitual cuts to the text of Hamlet between the seventeenth and early twentieth centuries, identifying in particular a tendency to increase the abruptness with which the play's last act interrupts its otherwise digressive movement. Looking in particular at the fate of Fortinbras, he examines changes to the ways in which these cuts have been indicated to readers, arguing that a decisive separation between the play as read and as acted makes itself felt at the turn of the nineteenth century. He concludes with a discussion of when and why it became desirable to advertise not manageably edited stage versions, but ‘uncut’ marathons. Michael Dobson is Director of the Shakespeare Institute in Stratford-upon-Avon and Professor of Shakespeare Studies at the University of Birmingham. His publications include the co-editorship of The Oxford Companion to Shakespeare, Shakespeare and Amateur Performance, Performing Shakespeare's Tragedies Today, and The Making of the National Poet.

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Bruster, Douglas. "Beautified Q1 Hamlet." Critical Survey 31, no. 1-2 (July 1, 2019): 58–71. http://dx.doi.org/10.3167/cs.2019.31010205.

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Q1 Hamlet (1603) routinely sets prose speeches so that they appear to be blank verse. This article argues that such was an attempt to confer prestige upon the text, particularly in the wake of the saturation of Shakespeare books on the literary marketplace around 1600 – a phenomenon that saw his prose works achieve less favour than those in pentameter. The publishers of Q1 Merry Wives (1602) and Q1 Hamlet may have hedged their bets on these Shakespeare texts by amplifying their verse, long the gold standard of the Shakespearean brand. Like The True Tragedie of Richard III (published 1594) and The Famous Victories of Henry V (entered 1594), which presented their opening pages to readers as iambic pentameter, Q1 Hamlet seems to have beautified its dialogue for readers in the early modern book marketplace.

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CHRISTENSEN, PHILIP H. "McGuffey's Oxford (Ohio) Shakespeare." Journal of American Studies 43, no. 1 (April 2009): 101–15. http://dx.doi.org/10.1017/s0021875809006082.

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James Fenimore Cooper regarded Shakespeare as “the great author of America.” For most frontier readers, this distinctly American Shakespeare was disseminated within the pages of the ubiquitous McGuffey Rhetorical Readers, and Hamlin Garland speaks for several generations across the Ohio frontier when he writes, “I got my first taste of Shakespeare from the selected scenes which I read in these books.” This Oxford (Ohio) canon draws generously from the Roman and English history plays, including scenes from the surprisingly popular King John and Henry VIII, and students were encouraged to memorize, and read aloud, classic orations such as “Antony's Oration over Dead Caesar's Body” and “Henry V. to His Troops.” The tragedies were most frequently represented by “The Hamlet Soliloquy,” and the more problematic comedies were virtually ignored, with the exception of brief appearances by a much sanitized John Falstaff. By the close of the century, the McGuffey canon had contributed to an American belief in Shakespeare's authority as second only to the Bible's, a point of view reflected in Emerson's judgment that Shakespeare is “inconceivably wise.”

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Ćirović, Mirka. "CONCEPTUAL METAPHORS IN SHAKESPEARE’S TRAGEDIES OTHELLO, HAMLET, KING LEAR AND MACBETH – LIFE AND DEATH (KONCEPTUALNA METAFORA U ŠEKSPIROVIM TRAGEDIJAMA OTELO, HAMLET, KRALJ LIR I MAKBET – ŽIVOT I SMRT)." Folia linguistica et litteraria X, no. 28 (December 26, 2019): 127–44. http://dx.doi.org/10.31902/fll.28.2019.8.

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This work analyzes conceptual metaphors in metaphorical linguistic expressions which are extracted from Shakespeare’s four major plays Othello, Hamlet, King Lear and Macbeth. Metaphorical linguistic expressions selected from the plays refer to abstract concepts of life and death, which preoccupied Shakespeare in his tragedies. In order to understand the four plays mentioned and individual lines in them, it is very importnat to gain insight into how Shakespeare’s characters, Shakespeare himself and man in general reason about existential questions and questions of purpose which have always been the subject of our contemplation. By identifying and analyzing conceptual metaphors in the base of metaphorical linguistic expressions that talk about life and death, we will be able to illustrate the process of mapping that goes on between the source and target domains. The mapping process will clearly indicate how it is that we understand and reason about abstract concepts of life and death while relying on concrete and physical concepts from our vicinity. Conceptual metaphors given in small caps such as life is theatre or death is sleep mean that expressions exactly like these are not to be found in Shakespeare’s plays. They are a mechanism that we all have and use to understand thoughts of immense philosophical power and psychological depth. This same mechanism is also used by the greatest of writers and poets in the expression of their literary genious. Key Words: conceptual metaphor, life, death, etaphorical linguistic expression, mapping, source domain, target domain, Shakespeare, Othello, Hamlet, King Lear, Macbeth

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Charney, Maurice, and Kristian Smidt. "Unconformities in Shakespeare's Tragedies." Shakespeare Quarterly 43, no. 2 (1992): 234. http://dx.doi.org/10.2307/2870889.

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Dutton, Richard, Dieter Mehl, and T. McAlindon. "Shakespeare's Tragedies: An Introduction." Modern Language Review 84, no. 3 (July 1989): 711. http://dx.doi.org/10.2307/3732455.

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Hale, John K. "Can the Poetics of Aristotle Aid the Interpretation of Shakespeare’s Comedies?" Antichthon 19 (1985): 16–31. http://dx.doi.org/10.1017/s006647740000321x.

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Because the Poetics has had such importance for the theory and practice of tragedy, the loss of Aristotle’s thought about comedy is greatly to be lamented. The student of Shakespeare laments it all the more in that our understanding of the comedies has lagged behind that of the tragedies. This paper asks, however, to what extent the Poetics as extant can be usefully applied to the comedies of Shakespeare; and to what extent we can thereby remedy some deficiencies of comedy criticism. For instance, it is a strength of Aristotle that he does not flinch from stating the obvious: he extracts from the obvious something useful,or even fundamental. Contrariwise, the interpretation of Shakespeare’s comedies often flinches from the obvious, and falls in consequence into the supersubtle or the arbitrary. A return to the Poetics may therefore be of benefit when it recalls us to fundamentals.

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Mirmasoomi, Mahshid. "Hamartia and Catharsis in Shakespeare’s King Lear and Bahram Beyzaie’s Death of Yazdgerd." International Letters of Social and Humanistic Sciences 74 (November 2016): 16–25. http://dx.doi.org/10.18052/www.scipress.com/ilshs.74.16.

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King Lear(1606) is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wrecking havoc not only upon people's lives but bringing devastation on his own kindred. Shakespeare castigates Lear's wrath, sense of superiority, and misjudgments which lead to catastrophic consequences. InDeath ofYazdgerd(1979), an anti-authoritarian play, Bahram Beyzayie, the well-known Persiaian tragedian, also depicts the hamartia of King Yazdgerd III whose pride and unjust treatment of people end in devastation. By demonstrating such defective and reprehensible tragic heroes, both playwrights set at providing audience with an anti-heroic representation of the kings and also shattering the common god-like heroism attributed to hero kings. Bearing in mind the political instability of England after the succession of James I, Shakespeare avails himself of such anti-heroic representation to forewarn those monarchs incapable of maintaining a balance between their judgments and the society's need for a genuine authority. In a similar fashion, Beyzayie narrates the true historical event of a Persian king whose improper exercise of authority, withdrawal from battle, and an ultimate escape leave people helpless against the invasion of Arabs. The article initially aims to discuss the concept of hamartia within the tragedies based on Aristotle's definition of hamartia and golden mean; by defining the nature of the kings' unforgivable errors and their extremely imbalanced temperament, the paper demonstrates how such ignoble failure relegates the hero kings to anti-heroes whose punishment equals their mistakes. Contrary to Aristotle’s idea, the article also elucidates how Shakespeare and Beyzaie have caused the audiences’ catharsis of emotion not through fear and pity but through the creation of a sense of justice by portraying characters who deserve their ultimate downfall.

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KENNEDY, DENNIS. "Shakespeare: histories and nations." European Review 13, no. 3 (July 2005): 319–26. http://dx.doi.org/10.1017/s1062798705000475.

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Shakespeare's history plays have been taken as a grand epic of the English nation, especially in the period after World War II when they were performed in marathon cycles in the English theatre. As a group, these works investigate and question the meaning of authority, kingship, and nation in an unparalleled way. Shakespeare is the world's most popular playwright, his work staged and filmed in a huge variety of locations around the globe, yet the history plays have traditionally not spoken as directly to other nations as do the comedies and tragedies. Using the analogy oftrans-national sport, this essay looks at the changing position of the history plays in contemporary Europe and in the larger world.

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Letin, Vyacheslav A., and Grigory A. Dobrynin. "The King in Shakespeare's artistic universe: a metaphysical aspect." World of Russian-speaking countries 1, no. 7 (2021): 93–110. http://dx.doi.org/10.20323/2658-7866-2021-1-7-93-110.

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The article shows the place of the sovereign's image in Shakespeare's artistic universe. The aim of this study is to analyse the place and role of the monarch in Shakespeare's artistic universe in the metaphysical context of the Renaissance worldview. The study is based on the texts of Shakespeare' s tragedies, comedies and «romantic» plays. The paper regards the figure of the ruler in comparison with his marginal antagonist, the fool, in terms of antinomianism of Christian culture. The narrative and motif-based analysis establishes the places of the sovereign and the fool (and his invariants) in the metaphysical space of Shakespeare's 'theatre of the world' and reveals the set of their specific external and internal characteristics. Cultural studies of Shakespeare's representations of this antinomian couple reveals the tragic guilt of the ruler who gives in to passions (ambition, lust, anger), as a result of which the monarch's ability to maintain order is lost. The disruption of world harmony in the space of Shakespeare's plays is considered in three aspects: spatial, family and existential. This, in turn, is reflected at the metaphysical level, causing natural anomalies and cataclysms. In accordance with this, the article highlights the specificity of the motifs related to this antinomic pair: harmony, sanity, honour (the king); disharmony, madness, sensuality and death (the fool). The authors identify how the king and the fool interact in the context of marginalisation of the ruler's persona. The metaphysical chaos of existence, the result of the power crisis, leads to the fact that the fool and the king swap places in Shakespeare's artistic universe following the game of elements, the game of costumes, the game of words. The paper concludes that the image of the king, occupies one of the key places in Shakespeare's artistic universe. In the gallery of sovereigns created by Shakespeare, the Renaissance image of the ideal ruler is presented in the context of the tendencies of the next historical and cultural epoch – the Baroque.

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Brown, Roger, and Albert Gilman. "Politeness theory and Shakespeare's four major tragedies." Language in Society 18, no. 2 (June 1989): 159–212. http://dx.doi.org/10.1017/s0047404500013464.

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ABSTRACTPenelope Brown and Stephen Levinson (1987) have proposed that power (P), distance (D), and the ranked extremity (R) of a face-threatening act are the universal determinants of politeness levels in dyadic discourse. This claim is tested here for Shakespeare's use of Early Modern English in Hamlet, King Lear, Macbeth, and Othello. The tragedies are used because: (1) dramatic texts provide the best information on colloquial speech of the period; (2) the psychological soliloquies in the tragedies provide the access to inner life that is necessary for a proper test of politeness theory; and (3) the tragedies represent the full range of society in a period of high relevance to politeness theory. The four plays are systematically searched for pairs of minimally contrasting dyads where the dimensions of contrast are power (P), distance (D), and intrinsic extremity (R). Whenever such a pair is found, there are two speeches to be scored for politeness and a prediction from theory as to which should be more polite. The results for P and for R are those predicted by theory, but the results for D are not. The two components of D, interactive closeness and affect, are not closely associated in the plays. Affect strongly influences politeness (increased liking increases politeness and decreased liking decreases politeness); interactive closeness has little or no effect on politeness. The uses of politeness for the delineation of character in the tragedies are illustrated. (Politeness theory, speech act theory, pragmatics, sociolinguistics, theory of literature, Shakespeare studies)

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Mentz, Steve, and Alexander Leggatt. "Shakespeare's Tragedies: Violation and Identity." Sixteenth Century Journal 37, no. 4 (December 1, 2006): 1115. http://dx.doi.org/10.2307/20478155.

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Leggatt (book author), Alexander, and Ian Munro (review author). "Shakespeare's Tragedies: Violation and Identity." Renaissance and Reformation 41, no. 2-3 (January 1, 2005): 220–22. http://dx.doi.org/10.33137/rr.v41i2-3.9535.

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Rampone, W. Reginald, and D. Douglas Waters. "Christian Settings in Shakespeare's Tragedies." Sixteenth Century Journal 27, no. 1 (1996): 206. http://dx.doi.org/10.2307/2544308.

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Ardolino, Frank, and Naseed Shaheen. "Biblical References in Shakespeare's Tragedies." Sixteenth Century Journal 19, no. 4 (1988): 719. http://dx.doi.org/10.2307/2541036.

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Hardie, Andrew, and Isolde van Dorst. "A survey of grammatical variability in Early Modern English drama." Language and Literature: International Journal of Stylistics 29, no. 3 (August 2020): 275–301. http://dx.doi.org/10.1177/0963947020949440.

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Grammar is one of the levels within the language system at which authorial choices of one mode of expression over others must be examined to characterise in full the style of the author. Such choices must however be assessed in the context of an understanding of the extent of variability that exists generally in the language. This study investigates a set of grammatical features to understand their variability in Early Modern English drama, and the extent to which Shakespeare’s grammatical style is distinct from or similar to that of his contemporaries in so far as these features are concerned. A review of prior works on Shakespeare’s grammar establishes that the quantitatively informed corpus linguistic approach utilised in this study is innovative to this topic. Using two of the grammatically annotated corpora created by the Encyclopedia of Shakespeare’s Language project, one made up of Shakespeare’s plays, one of plays by other playwrights of the period, we present a method which steers a course between the narrow focus of close reading and the naïvely quantitative metrics of authorship analysis. For a set of 15 grammatical features of stylistic interest, we retrieve all instances of each feature in each play via complex corpus search patterns and calculate its relative frequency. These results are then considered, in aggregate and at the text level, to assess the differences across plays, across dramatic genre, and between Shakespeare and the other dramatists, via both statistical summary and visual representation of variability. We find that Shakespeare’s grammatical style tends (especially in comedies and tragedies) to disprefer informationally dense noun phrases relative to the other playwrights; and, moreover, to prefer tense, aspect and pronoun features which suggest a greater degree of narrative focus in his style. Furthermore, we find Shakespeare to be highly distinct in his preferences regarding verb complement subordinate clause types. These findings point the way both to a novel methodology and to further as yet unconsidered questions on the subject of Shakespeare’s grammatical style.

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Journal articles on the topic 'Shakespearean Tragedies'

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