1 Henry IV : a critical guide - download pdf or read online
By Stephen Longstaffe
I Henry IV has constantly been considered one of Shakespeare's preferred performs and this serious advisor deals a finished consultant to the wide variety of feedback at the play and its primary figures, together with Falstaff. It introduces the play's severe and function historical past, together with striking level productions along television, movie and radio models. It encompasses a keynote bankruptcy outlining significant components of present study on the play and 4 new severe essays. eventually, a consultant to serious, web-based and production-related assets and an annotated bibliography supply a foundation for extra person re. Read more...
summary: I Henry IV has consistently been certainly one of Shakespeare's preferred performs and this severe advisor bargains a entire consultant to the wide variety of feedback at the play and its primary figures, together with Falstaff. It introduces the play's severe and function historical past, together with remarkable degree productions along television, movie and radio models. It contains a keynote bankruptcy outlining significant components of present examine at the play and 4 new serious essays. eventually, a consultant to serious, web-based and production-related assets and an annotated bibliography offer a foundation for additional person re
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Additional info for 1 Henry IV : a critical guide
Auden, ‘The Prince’s Dog’ (1948), in Henry the Fourth Parts I and II: Critical Essays, ed. , 1986), pp. 157–80 (p. 163). 53. Northrop Frye, ‘The Argument of Comedy’ (1949), in Henry the Fourth Parts I and II: Critical Essays, ed. , 1986), pp. 181–86; William Empson, ‘Falstaff and Mr Dover Wilson’ (1953), in Shakespeare: Henry IV Parts I and II: A Casebook, ed. G. K. Hunter (London: Macmillan, 1970), pp. 135–54; Bernard Spivack, ‘Shakespeare and the Allegory of Evil’ (1958), in Henry the Fourth Parts I and II: Critical Essays, ed.
50 For Wilson, Hal, the admirable Prodigal, and Falstaff, the Riot or Devil, drew on the traditions of morality plays and miracle plays, as well as the miles gloriosus. 51 Read in this way, Falstaff is seen to function in the play as a dramatic type: his role shaped by these alternative yet well-known dramatic forms and his purpose to facilitate the development of the character of the prince. W. H. Auden extended this contemplation of Falstaff ’s theatrical function in ‘The Prince’s Dog’ (1948).
4. 39. Maurice Morgann, An Essay on the Dramatic Character of Sir John Falstaff (1777), in Henry the Fourth Parts I and II: Critical Essays, pp. 15–40 (p. 15). 32 1 HENRY IV 40. Morgann, Dramatic Character of Sir John Falstaff, p. 39. Christy Desmet, Reading Shakespeare’s Characters: Rhetorics, Ethics and Identity (Amherst, MA: University of Massachusetts Press, 1992), p. 52. 41. 4 (1914), 197–240; John Dover Wilson, The Fortunes of Falstaff (Cambridge: Cambridge University Press, 1943). 42. William Hazlitt, from Characters of Shakespeare’s Plays (1817), in Henry the Fourth Parts I and II: Critical Essays, ed.
1 Henry IV : a critical guide by Stephen Longstaffe