DOCSLIB.ORG

Imagery in Coriolanus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imagery in Coriolanus University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1967 Imagery in Coriolanus Lois Margaret Jarka The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Jarka, Lois Margaret, "Imagery in Coriolanus" (1967). Graduate Student Theses, Dissertations, & Professional Papers. 2643. https://scholarworks.umt.edu/etd/2643 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact scholarworks@mso.umt.edu. hi IMAGEEÏ IN CORIOLAMJS Lois Margaret Jarka B. A. University of Montana, 1964 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1967 Approved by: Chairman, Board of Examiners Dean^ Graduate School JUN 7 1967 Date UMI Number: EP34736 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI EP34736 Copyright 2012 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuesf ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 - 1346 "The fundamental word In art is not Impression, "but design; and analysis simply means discovery of the design." Msgr. F.C. Kolbe in Shakespeare's Way TABLE OF CONTENTS Chapter Page Introduction iii Chapter One . The Four Dominant Patterns of Meaning 1 Chapter Two Act I - "Tis his kind of speech..." The Speech Pattern 17 The Name Pattern 33 The Nobility Pattern 4l The Nature Pattern 4$ Chapter Three Introduction to Acts II and III 66 Act II - "never a worthier man..." Scenes: 1 72 ii 79 111 90 Chapter Four Act III - "too noble for the world..." Scenes: 1 ' 103 I I 114 III 125 Chapter Five Act IV - "I'll do well yet..." Scenes: 1 134 ii 137 ill l40 Iv 14-3 V l46 vi 156 vil 160 1 Chapter Page Chapter Six Act V - "he's the rock, the oak..." Scenes: i I65 i i 173 ii i 176 i v 191 V 194 Selective Bibliography 203 ii Introduction As Theodore Spencer says, Coriolanus has "never been popular." Critics are strangly divided in their reactions to the play. Spencer, like many who praise its craftsmanship, asserts that "though we admire [CoriolanusJ , we admire it in cold blood." He dispenses with the play in three pages as being merely a "study in human behavior," and finds that it does not have "enough universality to rank it with the great tragedies."^ Few critics seem to have been able to penetrate the hard, often brittle surface of Coriolanus to feel, beneath what Harold C. 2 Goddard calls its "clarity of full daylight," the warm human darkness of misplaced tenderness and love that distorts the world for Coriclanus as thoroughly as it does for King Lear. M. ¥. MacGalium long ago sensed the greatness of Coriolanus, and 3 his study, published in 1910, with its acute insight into the human as well as the political situation involved, remains one of the most valuable interpretations of the play. Since then other provocative and helpful short studies have appeared; the best of them are by John Middleton Mirry (first written in 1921),^ G. Wilson Knight (1930),^ ^Theodore Spencer, Shakespeare and the Nature of Man (New York, 19^9), pp. ITT and I83. 2 Harold C. Goddard, The Meaning of Shakespeare (Chicago, 1951)^ II, p. 209. 3 M. W. Mac Galium, Shakespeare's Roman Flays and Their Background (London, I9IO), pp. 454-62?. Vohn Middleton Murry, John Clare and Other Studies (London, 1950). ^G. Wilson Knight, The Imperial Theme (London, 1930). iii H. C. Goddaxd (published posthumously in 1951),^ and by Harry Levin in his brief but penetrating introduction to his edition of Coriolanus (1956). But it is only in very recent years that Coriolanus has been awarded the kind of serious attention it merits. Derek 'Eraversi^ in his excellent study, Shakespeare ; The Roman Plays (I963), presents, at last, a comprehensive modern critical exposition of the play, and assigns Coriolanus its proper place among Shakespeare's great tragedies. In the past thirty years scholars and students have begun to read Shakespeare with new eyes and to discover aspects of his craftsmanship •which have never before been fully appreciated because they have never been so thoroughly explored. This new way of seeing Shakespeare's work began with a curiosity about him as a man. Caroline Spurgeon^ attempting to come nearer to Shakespeare's "person," undertook in the 1930's an extensive classification of images which recur in many of his plays as a means of revealing Shakespeare's main kinds of interests and the quality of his imagination. In 1936, one year after her pioneer study, Shakespeare's Imagery and What It Tells Us, appeared, Wolfgang Clemen, a German scholar, working quite independently, published his Shakespeares Eilder, the original German version of The Development of Shakespeare' s Imagery• Clemen was less interested in:the "content" of the imagery than in Shakespeare's development of the increasingly organic function of the image in the dramatic structure. He traced the development from the early plays where much of the imagery is either decorative similg or only loosely connected with the overall design, to the late plays in ^loc. cit. which recurrent images, serving "several ends at one time," form an organic part of the total structure. Since the publication of these two studies, imagery has been a major concern:'in Shakespearean scholarship. The possibilities Inherent in this concern for exhaustive studies of individual plays were first explored by Robert B. Heilman. In 19^8 he published This Great Stage; Image and Structure in "King Lear." Heilman discovered that iterative images in King Lear, while interweaving and qualifying one another, group themselves around certain concepts or "root ideas" central to the play, and form what he calls "patterns of meaning." Like individual metaphors, the patterns themselves reinforce, qualify and illuminate each other. Heilman also discovered that "basic" words (e.g., the simple verbs, see and know), not ordinarily thought of as metaphcric., take on the nature of images through repetition and accumulation of many diverse associations. This extension of the usual function of imagery is most apparent in the later plays where Clemen had found Shakespeari's method "more subtle and indirect."® In Coriolanus much "basic" language is used metaphorically, arid perhaps for this reason the play has been thought of as one of the least poetic of Shakespeare's works. Goddard echoes the opinions of many critic; when he states that Coriolanus "lacks poetry," but he adds the qualification, "in a narrower sense.He does not enlarge on this point, TWolfgang Clemen, The Development^ of Shakespeare' s Imagery (New York, 1951), p. 222. 8 Clemen, p. 90« 9 Goddard, p. 209- V and we can only speculate that Goddard must have discerned a poetic quality in the play that could not be accounted for in terms of direct overt metaphor of the kind that enriches Antony and Cleopatra. Traversi comes closest perhaps to suggesting the quality of the poetry in Coriolanus when he says of the Roman tragedies: The style of these plays, far from reflecting a pedestrian process of versification, shows a unique combination of narrative lucidity, achieved through the easy, almost conversational use of spoken rhythms, and vernacular phrases, with poetic intensities that flow effortlessly from this foundation whenever the state of the action so requires. This marriage of colloquial ease with the heights of emotional expression is achieved with a consistency hardly paralleled elsewhere in Shakespeare's work.10 The more familiar we become with Coriolanus, the more we begin to realize that its| poetry the language, not something we can speak of separately. The most colloquial phrase takes on the nature of an image for, through the process of repetition, it not only accumulates ether meanings,I-but begins to function metaphorically in terms of them. The result is a work so organically conceived that hardly a word means only itself. It seems to me that Coriolanus is an example of what Hermann Brcch describes as Altersstll, the "style of old age" which is "not always a product of the years; it is a gift implanted along with his other gifts in the artist, ripening, it may be, with time, often blossoming before H ii;s season, or unfolding of itself even before the approach of age or l^Derek Traversi, Shakespeare: The Roman Plays (Stanford, 1963), p. 10. vi death: it is a reaching of a new level of expression..." In this Altersstil Broch places the mature work of Rembrandt and Goya, Bach's Art of the Fugue, the last quartets of Beethoven, and the final scenes of Geothe's Faust. He asks: What is common to these various examples? All of them reveal a radical change in style, not merely a development in the original direction; and this sharp stylistic break can be described as a kind of abstractism in which the expression relies less and less on the vocabulary, which finally becomes reduced to a few prime symbols, and instead relies more and more on the syntax: for in essence this is what abstractism is--the impoverishment of vocabulary and the enrichment of the syntactical relations of expression; in mathematics the vocabulary is reduced to nothing, and the system of expression relies exclusively on the syntax.
Load more

Recommended publications
  • Plutarch, Machiavelli and Shakespeare's Coriolanus Patrick
    The Changing Faces of Virtue: Plutarch, Machiavelli and Shakespeare’s Coriolanus Patrick Ashby University of Bristol pa7312@bristol.ac.uk Introduction: The hinges of virtue ‘Let it be virtuous to be obstinate’, says Caius Martius Coriolanus, shortly before the catastrophe of Shakespeare’s tragedy (Coriolanus, 5.3.26).1 In uttering these words, he articulates a moral hypothesis which is of central importance to Coriolanus: the supposition that steadfastness of principle is a fundamental good. This is a theory which the play puts to the test. The idea of ‘virtue’ — in a variety of guises — is a key focus of this essay, which identifies as crucial those moments at which definitions of virtue are unsettled, transformed, or confronted with a range of alternatives. Several commentators have connected Shakespeare’s Coriolanus with the political ideas of Niccolò Machiavelli, the Florentine theorist whose notoriety rests upon his recommendation of moral flexibility for political leaders. For Anne Barton, who reads the play in the context of Machiavelli’s Discourses on Livy’s history of early Rome, Coriolanus dramatises the futile persistence of obsolescent virtues (the valorisation of battlefield heroics) in an environment of subtler needs and growing political sophistication.2 In Shakespeare and the Popular Voice, Annabel Patterson hints at Shakespeare’s sympathy with the idea of popular political representation, proposing that ‘there is nothing in the play to challenge that famous interpretation of the tribunate which [. .] Machiavelli made a premise of Renaissance political theory’.3 John Plotz 1 William Shakespeare, Coriolanus, The Norton Shakespeare, ed. by Stephen Greenblatt, Katherine Eisaman Maus, Jean E.
    [Show full text]
  • Coriolanus: the Tragedy of Virtus ANTHONY MILLER
    SYDNEY STUDIES Coriolanus: The Tragedy of Virtus ANTHONY MILLER From the opening entry of "a company of mntinous Citizens, with staves, clubs, and other weapons" to the next to last, barely coherent action-"Kill, kill, kill, kill, kill him!" "Hold, hold, hold, hold!"-Coriolanus displays an ancient world riven by war and civic turmoil.l For all its occasional evocations of a mar­ moreal Romanitas, it is also a busy play. Its protagonist accepts with relish and superhuman energy the opportunities for martial action that his world presents: Coriolanus is probably the most active of Shakespeare's tragic heroes, certainly the one least given to reflection. Yet the play's busyness is not always warlike. Much of it consists of talk, especially the contentious talk of political debate. Characters plan courses of action, rehearse public appearances, plot acts of vengeance, conjure with names, report off-stage events-and even events that the audience has seen occur on-stage. Much of the discussion revolves around Coriolanus himself. His nature and motives, his martial prowess and farouche political manners, are incessantly and variously canvassed. To a belligerent citizen, Coriolanus's heroics are performed to please his mother, and to be partly proud; to the indulgent Menenius, his nature is too noble for the world; to Aufidius, shrewd and grudgingly admiring, his actions are a matter for almost obsessive, but inconclusive, rumination: Whether 'twas pride, Which out of daily fortune ever taints The happy man; whether defect of judgement, To fail in the disposing of those chances Which he was lord of; or whether nature, Not to be other than one thing, not moving From th'casque to th'cushion, but commanding peace Even with the same austerity and garb As he controll'd the war; but one of these­ As he hath spices of them all, not all, For I dare so far free him-made him fear'd, So hated, and so banish'd.
    [Show full text]
  • Richard II First Folio
    FIRST FOLIO Teacher Curriculum Guide Welcome to the Table of Contents Shakespeare Theatre Company’s production Page Number of About the Play Richard II Synopsis of Richard II…..…….….... …….….2 by William Shakespeare Interview with the Director/About the Play…3 Historical Context: Setting the Stage….....4-5 Dear Teachers, Divine Right of Kings…………………..……..6 Consistent with the STC's central mission to Classroom Connections be the leading force in producing and Tackling the Text……………………………...7 preserving the highest quality classic theatre , Before/After the Performance…………..…...8 the Education Department challenges Resource List………………………………….9 learners of all ages to explore the ideas, Etiquette Guide for Students……………….10 emotions and principles contained in classic texts and to discover the connection between The First Folio Teacher Curriculum Guide for classic theatre and our modern perceptions. Richard II was developed by the We hope that this First Folio Teacher Shakespeare Theatre Company Education Curriculum Guide will prove useful as you Department. prepare to bring your students to the theatre! ON SHAKESPEARE First Folio Guides provide information and For articles and information about activities to help students form a personal Shakespeare’s life and world, connection to the play before attending the please visit our website production. First Folio Guides contain ShakespeareTheatre.org, material about the playwrights, their world to download the file and their works. Also included are On Shakespeare. approaches to explore the plays and productions in the classroom before and after the performance. Next Steps If you would like more information on how First Folio Guides are designed as a you can participate in other Shakespeare resource both for teachers and students.
    [Show full text]
  • Shakespeare's Coriolanus As an Epitome of A
    Conference of the International Journal of Arts and Sciences 2(1): 41-45 (2009) CD-ROM. ISSN: 1943-6114 © InternationalJournal.org Shakespeare’s Coriolanus as an Epitome of a Dysfunctional Family Buket Dogan, Middle East Technical University, Turkey Coriolanus has not been studied as extensively as Shakespeare’s other tragedies. Yet, with the change in sense of style with the turn of the twentieth-century Coriolanus is on stage more often and receives critical attention. Coriolanus seems rather a modern play in not evocating sympathy for any of the characters with whom the reader can identify himself with. Coriolanus has many distancing and disagreeable characteristics that may generate dislike for the protagonist, yet the skillfully adorned rhetoric and speech prove Coriolanus to be one of Shakespeare’s greatest tragedies, as T.S. Eliot puts it Coriolanus is “Shakespeare’s most assures artistic success” (in Brockman 50). Shakespeare for some time was engaged “writing plays about the destructive effects of excessive emotional attachments between children and parents”, for instance, in Hamlet or King Lear (King 14). The outcome of the parental repression is likely to produce the worst repercussions on Coriolanus, who is torn between his own identity and the identity that his mother trying to exert on him. Coriolanus has been dominated by his mother ever since his early childhood. At the outset of the play, the main motive for Coriolanus’ services for Rome is mainly to please his mother rather than to ensure Rome’s well-being. The First Citizen asserts that: “though soft-conscienced men can be content to say it was for his country, he did it to please his mother” (1.1.37-9).
    [Show full text]
  • For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
    The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • The Threepenny Opera Direct from the National Theatre to Cinemas Around the World from Thursday 22 September
    11 July 2016 NT LIVE ANNOUNCES THE BROADCAST OF THE THREEPENNY OPERA DIRECT FROM THE NATIONAL THEATRE TO CINEMAS AROUND THE WORLD FROM THURSDAY 22 SEPTEMBER ★★★★ ‘Rory Kinnear is a fine Macheath. Haydn Gwynne is terrific’ Daily Express ★★★★ ‘Grimy, filthy and tremendously fun’ Time Out ★★★★ ‘Rory Kinnear is really on song’ Evening Standard ★★★★ ‘A snarling beast of a show’ Independent Rufus Norris’ National Theatre production of THE THREEPENNY OPERA by Bertolt Brecht and Kurt Weill in a new adaptation by Simon Stephens will be broadcast live to cinemas around the world direct from the National’s Olivier Theatre on 22 September at 7pm. The cast includes Rory Kinnear at Macheath, Haydn Gwynne as Mrs Peachum and Rosalie Craig as Polly Peachum alongside Hammed Animashaun, Sarah Amankwah, Toyin Ayeden- Alase, Jamie Beddard, Rebecca Brewer, Andrew Buckley, Ricky Butt, Mark Carroll, Matt Cross, Peter de Jersey, Nick Holder, George Ikediashi. Debbie Kurup, Conor Neaves, Sharon Small, Dominic Tighe and Wendy Somerville. The production is designed by Vicki Mortimer, with musical direction by David Shrubsole, choreography by Imogen Knight, lighting by Paule Constable, sound by Paul Arditti and fight direction by Rachel Bown Williams and Ruth Cooper of RC-ANNIE Ltd. London scrubs up for the coronation. The thieves are on the make, the whores on the pull, the police cutting deals to keep it all out of sight. Mr and Mrs Peachum are looking forward to a bumper day in the beggary business but their daughter didn’t come home last night. Mack the Knife is back in town. A landmark of 20th century musical theatre THE THREEPENNY OPERA in this bold new production contains filthy language and immoral behaviour.
    [Show full text]
  • Map 44 Latium-Campania Compiled by N
    Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways.
    [Show full text]
  • Romeo & Juliet TEACHER
    Contents How to Use This Study Guide with the Text & Literature Notebook ......... 5 Notes & Instructions to Student ........................................................................ 7 Taking With Us What Matters .......................................................................... 9 Four Stages to the Central One Idea ............................................................... 13 How to Mark a Book ......................................................................................... 18 Introduction ....................................................................................................... 20 Basic Features & Background .......................................................................... 22 ACT 1 Pre-Grammar | Preparation ............................................................................ 29 Grammar | Presentation .................................................................................. 29 Logic | Dialectic ................................................................................................ 36 Rhetoric | Expression ....................................................................................... 38 ACT 2 Pre-Grammar | Preparation ............................................................................ 41 Grammar | Presentation .................................................................................. 41 Logic | Dialectic ................................................................................................ 46 ACT 3 Pre-Grammar | Preparation
    [Show full text]
  • 05. Filologia Alemana 14
    «The people are the city»: Das Volk und der Held bei Shakespeare, Brecht und Grass* Ana R. CALERO Universitat de València Departament de Filologia Anglesa i Alemanya ana.r.calero@uv.es Recibido: octubre de 2005 Aceptado: febrero de 2006 ZUSAMMENFASSUNG William Shakespeares Coriolanus (1608-1609), Bertolt Brechts Coriolan (1951-1952) und Günter Grass’ Die Plebejer proben den Aufstand (1966) stellen ein Kontinuum dar, in dem jeder Autor die Zeichen seiner Zeit und seine Auffassung von Theater in das literarische Gewebe hineingestrickt hat. Aufgezeigt werden soll die Beziehung zwischen Held und Volk anhand von zwei dramatischen Momenten: der Aufstand der Plebejer und Coriolanus’ Stimmenwerbung. Schlüsselwörter: Volk , Held , Shakespeare, Brecht, Grass. «The people are the city»: The People and the Hero in Shakespeare, Brecht and Grass ABSTRACT William Shakespeare’s Coriolanus (1608-1609), Bertolt Brecht’s Coriolan (1951-1952) and Günter Grass’ Die Plebejer proben den Aufstand (1966) can be read as a continuum. Each author includes in his play not only the historical circumstances of his time but also his understanding of dramatic art. The aim of this article is to show the relationship between hero and people by means of two dramatical moments: the uprising of the people and Coriolanus’ plea for votes. Keywords: People, Hero, Shakespeare, Brecht, Grass. RESUMEN Coriolanus (1608-1609) de William Shakespeare, Coriolan (1951-1952) de Bertolt Brecht y Die Plebejer proben den Aufstand (1966) de Günter Grass pueden leerse como un continuum. Cada uno de los autores teje en el tapiz literario las circunstancias históricas que vivió y su visión del teatro. El objetivo de esta contribución es mostrar la relación que se establece entre el protagonista y el pueblo sirviéndonos de dos momentos dramáticos: el levantamiento de los plebeyos y la petición de votos por parte de Coriolano.
    [Show full text]
  • Coriolanus and Fortuna Muliebris Roger D. Woodard
    Coriolanus and Fortuna Muliebris Roger D. Woodard Know, Rome, that all alone Marcius did fight Within Corioli gates: where he hath won, With fame, a name to Caius Marcius; these In honour follows Coriolanus. William Shakespeare, Coriolanus Act 2 1. Introduction In recent work, I have argued for a primitive Indo-European mythic tradition of what I have called the dysfunctional warrior – a warrior who, subsequent to combat, is rendered unable to function in the role of protector within his own society.1 The warrior’s dysfunctionality takes two forms: either he is unable after combat to relinquish his warrior rage and turns that rage against his own people; or the warrior isolates himself from society, removing himself to some distant place. In some descendent instantiations of the tradition the warrior shows both responses. The myth is characterized by a structural matrix which consists of the following six elements: (1) initial presentation of the crisis of the warrior; (2) movement across space to a distant locale; (3) confrontation between the warrior and an erotic feminine, typically a body of women who display themselves lewdly or offer themselves sexually to the warrior (figures of fecundity); (4) clairvoyant feminine who facilitates or mediates in this confrontation; (5) application of waters to the warrior; and (6) consequent establishment of societal order coupled often with an inaugural event. These structural features survive intact in most of the attested forms of the tradition, across the Indo-European cultures that provide us with the evidence, though with some structural adjustment at times. I have proposed that the surviving myths reflect a ritual structure of Proto-Indo-European date and that descendent ritual practices can also be identified.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]