Browse Items (78 total)
Pages 56-57: At the start of his writing career, Shakespeare assesses his achievements, acknowledging that Titus Andronicus “was not a good play” despite its popularity. This view of Titus reflects the critical consensus of her own day more than…
Pages 104-105: Shakespeare, Ben Jonson, and Christopher Marlowe debate the age’s potential for literary greatness at a tavern, as a happy barmaid hoists a tankard.
Pages 128-129: The Godwins depict Queen Elizabeth I as “absorbed” by a performance of Shakespeare’s Julius Caesar. Via Elizabeth’s perspective, they offer conventional praise of Shakespeare’s ability to inspire the audience’s identification with his…
Page 305: Motivated both by generosity and self-interest, Shakespeare’s other associates volunteer to foster the children and to add Nick, the protagonist, to the King’s Men. Bennett’s Shakespeare alone thinks to ask Nick what he wants.
Cowden Clarke, "Ophelia; The Rose of Elsinore," The Girlhood of Shakespeare's Heroines (Pages 196-197)
Pages 196-197: Ophelia’s wet nurse’s troubled son frightens Ophelia with attention and cruelty. Note Cowden Clark’s interest in representing the boy’s violence toward flies in ways figured in other Shakespeare scenes, King Lear 4.1 and Titus…
Cowden Clarke, "Ophelia; The Rose of Elsinore," The Girlhood of Shakespeare's Heroines (Pages 236-237)
Pages 236-237: Ophelia’s new friend at court, Thyra, reveals her attraction to and misunderstanding of the same lord who seduced and abandoned Jutha. Cowden Clark represents the unreliability and danger of male attention in Ophelia’s world.
"A Request to his Scornefull Love" : Benson’s headers were always in the third person. Here Benson groups Sonnets 88-91 into a single unbroken lyric.
No featured items are available.