1,721,010 research outputs found
“ʻTake this picture which I heere present theeʼ: The Art of Portraiture in the Elizabethan Sonnet Sequences”
No full text“ʻGods and goddesses – All the whole synod of them!ʼ: Shakespeare’s References to the Gods in Antony and Cleopatra”
No full textAmong the impressive number of mythological figures mentioned in Antony and Cleopatra, the references to the Graeco-Roman (and in one case Egyptian) gods are particularly relevant. Without ignoring the fundamental relationship between Shakespeare and his “sources”, my study will employ a close reading of the passages in which we find explicit mention of the gods in order to investigate both the actual authorial intention behind such references and their supposed (and pre-supposed) effect upon the audience, placing thus their function within the play’s properly dramatic dynamics
Theodora a bordo. Su una poesia non scritta di Montale
No full textL'articolo si interroga, formulando una serie di ipotesi, sulla poesia "Theodora a bordo", di cui Eugenio Montale parla nelle sue "Lettere a Clizia", ma che non risulta essere mai stata scritta dal poeta
A Reference to the Song of Songs in Shakespeare's Venus and Adonis (229-240)
No full textMUCH has been written on the sources of
Shakespeare’s Venus and Adonis. Besides
Ovid’s Metamorphoses—with particular but
not exclusive reference to the episodes of
Venus and Adonis and Salamacis and
Hermaphroditus—many works, both classical
and Renaissance, have been suggested as pos-
sible sources of inspiration for the poem as a
whole or for single passages of it. Only one
critic, however, has noticed the influence that
the biblical Song of Songs, a book that played
an important role in shaping the Renaissance
language of love and whose poetic potential
was far from ignored by the poets of the
period, exercised over Shakespeare’s Venus
and Adonis. In his study The Song of Songs in
English Renaissance Literature, Noam Flinker
dedicates one chapter to the analysis of the
‘Canticles as erased conventions in Venus and
Adonis
“Breaking the Rules. The Subversive Nature of Shakespeare’s Sonnets to the Dark Lady”
No full textPublished in 1609, Shakespeare’s Sonnets appear as part of a rich tradition of sonnet sequences, which had reached its peak in England in the nineties of the sixteenth century. The poet necessarily places himself within this tradition but, far from subjecting himself to a passive imitation of the established model, achieves a radically original result. This innovative impetus reaches a climax in the so-called Dark Lady sequence, in which we find a drastic opposition to the traditional Petrarchan paradigm. Nevertheless, critics have generally paid scarce attention to the Dark Lady sonnets, summarily dismissing them as an example of parodic inversion of the Petrarchan model, and thus avoiding an examination of their profound revolutionary character.
The aim of this study is to demonstrate that, far from resolving itself in a punctilious overturn of the model in a parodic key, this opposition to the “orthodox” paradigm gives birth to a deep reflection on the philosophical truth of human nature
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