Restoration Shakespeare: Viewing the Voice
Between 1660 and 1682 seventeen versions of Shakespeare's plays were made for the newly reopened public theatres in London, and in its three parts 'Restoration Shakespeare: Viewing the Voice' offers a new view of why and how such adaptation was undertaken. Part I considers the seventeenth-century debate about how dramaric poetry works on the mind. Part II offers an analysis of each play with regard to its visual and metaphorical effects. Part III concludes with a review of Shakespeare's reputation in these years, drawing a distinction between what readers and playgoers would have known of him.
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The Tragedy of Hamlet Prince of Denmark ?1668
Sauny the Scot or The Taming of the Shrew 1667
The Tempest or The Enchanted Island 1667
Miseries and Civil War
The Tempest or The Enchanted Island Opera 1674
The Misery of Civil War Henry VIs 1680
The History of King Richard the Second or The Sicilian Usurper Richard II 1680
The History of King Lear 1681
Henry the Sixth The First Part with the Murder of Humphrey Duke of Glocester 1681
The Ingratitude of a Commonwealth or The Fall of Caius Martius Coriolanus 1681
The Injured Princess or The Fatal Wager Cymbeline 1682
The Editions Referred to in This Study
action actors Alcibiades alterations Ariel audience Betterton characters Christopher Spencer civil comedy comic contemporary contrast Cordelia Coriolanus Cornmarket facsimile critical Crowne Crowne's Davenant's depictive discussion Duke's Company Durfey Durfey's earlier edition effect Elianor emotional English Drama Epilogue Evandra expressed Hamlet Hazelton Spencer Henry heroic Hippolito History imagination innocence John Dryden Kilbourne King Lear King's Company Lacy Lady Langbaine language later Lavinia Law Against Lovers Lennep literary London Stage Macbeth Macduff Marius Marsden metaphor mind moral murder Nahum Tate nature numbers Odell opera Otway Otway's passage Pepys performance play's plot Poesy Poet poetic poetry political Prologue Prospero Queen Ravenscroft reference Restoration Theatre Richard role satire scene scenery scenic sense Shadwell Shadwell's Shakespeare Adaptations Shakespeare's play Sorelius stresses Tate's version Tempest theater theatrical Thomas Thomas Otway Thomas Shadwell Timon Timon of Athens Titus Andronicus tragedy Troilus and Cressida University Press visual Wikander William Davenant words
Page 46 - Ay, but to die, and go we know not where; To lie in cold obstruction and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods, or to reside In thrilling region of thick-ribbed ice; To be imprison'd in the viewless winds, And blown with restless violence round about The pendent world: or to be worse than worst Of those that lawless and incertain thought Imagine howling: — 'tis too horrible!
Page 29 - But that which did please me beyond anything in the whole world, was the wind-musique when the angel comes down ; which is so sweet that it ravished me, and indeed, in a word, did wrap up my soul so that it made me really sick, just as I have formerly been when in love with my wife...
Page 31 - And indeed, the indecency of tumults is all which can be objected against fighting : for why may not our imagination as well suffer itself to be deluded with the probability of it, as with any other thing in the play...