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Shakespeare's Greek drama secret /

To begin with, Shakespeare had a complete grammar school education, and Euripides, Sophocles and Aristophanes were assigned reading! This book presents voluminous, striking, unmediated textual correspondences between the Greek and Shakespearean plays, and illuminating historical background. Not only...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Stagman, Myron
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Newcastle upon Tyne, UK : Cambridge Scholars Publishing, 2010.
Temas:
Acceso en línea:Texto completo

MARC

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245 1 0 |a Shakespeare's Greek drama secret /  |c by Myron Stagman. 
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520 |a To begin with, Shakespeare had a complete grammar school education, and Euripides, Sophocles and Aristophanes were assigned reading! This book presents voluminous, striking, unmediated textual correspondences between the Greek and Shakespearean plays, and illuminating historical background. Not only should this prove the Shakespeare-Greek Drama connection, but that William Shakespeare became "Shakespeare" because of his mastery of the ancient Greek treasury of Drama. Many of us associate Lady Macbeth's special temper with some of the most blood-curdling lines in literature: I have given suck, and know How tender 'tis to love the babe that milks me; I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn As you have done to this. Shakespeare's precise action image appears in 'Euripides' Iphigenia in Aulis', from verses spoken by Clytemnestra. She says to Agamemnon: It was not of my own free will but by force that Thou didst take and wed me, after slaying Tantalus, My former husband, and dashing my babe on the ground alive, When thou hadst torn him from my breast with brutal violence. The derivation of Lady Macbeth's dashing image cannot be in doubt. -- Product Description 
588 0 |a Print version record. 
505 0 |a TABLE OF CONTENTS; INTRODUCTION I; INTRODUCTION II; PART ONE; INTRODUCTION TO GREEK DRAMA; AESCHYLUS; SOPHOCLES; EURIPIDES; ARISTOPHANES; CONCLUSION; PART TWO; SHAKESPEARE AND THE CLASSICAL MILIEU OF THE RENAISSANCE; SHAKESPEARE'S FORMAL EDUCATION; TRANSLATIONS OF GREEK DRAMA; SHAKESPEARE'S MODUS OPERANDI AS A PLAYWRIGHT; PLUTARCH; THE GREEK MOVEMENT AND THE COURT; BEN JONSON; PLAUSIBLE INTERMEDIARIES?; CONCLUSION; PART THREE; SHAKESPEAREAN TRAGEDY; SHAKESPEAREAN HISTORY; SHAKESPEAREAN COMEDY; PART FOUR; CONCLUSION; BIBLIOGRAPHY. 
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