By George Peter Gatsis
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Extra resources for Art of History on Jesus
Shakespeare employs language in the same way as he employs his historical sources, taking fragments and ideas and combining them into a new form with little concern for their integrity. Again, there is no antiquarian imperative in Shakespeare’s use of Latin antecedents; instead, he employs them in a way that draws attention to and makes creative use of the interpretive traditions that are embedded in them. In this manner, the highly patterned rhetoric emulates the style of Seneca, recalling both the Latin curriculum of the English grammar and the neoclassical style pioneered by Thomas Kyd in the popular precursor to this revenge tragedy, The Spanish Tragedy (c.
All textual references are to Bate’s Arden edition, cited above. 9. 1 (2008): 106–21. 2 (2002): 260–80; Courtney Lehmann, Bryan Reynolds, and Lisa Starks, “‘For Such a Sight Will Blind a Father’s Eye’: The Spectacle of Suffering in Taymor’s Titus,” in Performing Transversally: Reimagining Shakespeare and the Critical Future, ed. Bryan Reynolds, Janelle Reinelt, and Jonathan Gil Harris (New York: Palgrave Macmillan, 2003), pp. 215–243; and Carol Chillington Rutter, “Looking Like a Child – Or – ‘Titus’: The Comedy,” Shakespeare Survey 56 (2003): 1–26.
73), function in performance to collapse or disrupt the narrative by drawing attention to the now of Elizabethan London. 90), for example, he becomes a curiously English interruption of the Roman setting by recalling the stock character and comic conventions associated with courtly clowning in the late medieval English court, as appropriated into the early modern theatre. The clown in particular stands out from the rest of the characters in the play partly as a result of his proverbial, comical prose, the fluidity of which contrasts starkly with the highly stylized rhetoric employed by the other characters.
Art of History on Jesus by George Peter Gatsis