Shakespeare and Other Adaptations

Clark, Sandra

doi:10.1002/9781118663400.ch16

Cited by 2 publications

(1 citation statement)

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“…In Octavia's confrontation with Cleopatra, the wife figures as 'the stereotype of the jealous, competitive, woman-as-bitch' and the mistress as a virtuous lover whose pathos is underscored by her fainting, which closes the scene. 58 The language of law defining marriage as synonymous with legal possession registers Octavia's position as that of a wife whose rights have been usurped by Cleopatra. The queen's reference to Antony as 'he whom Law calls yours, / But whom his love made mine' (3.1.433-4), while conceding Octavia's legal claims, deconstructs them by countering the legality of marriage with an alternative form of possession legitimated by love.…”

Section: Mots CL éSmentioning

confidence: 99%

‘And makes it indistinct / As water is in water’: The melting away of the heroic subject in Antony and Cleopatra and All for Love

Velissariou

2020

Cahiers Élisabéthains: A Journal of English Renaissance Studies

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Premising the structural importance of water imagery in William Shakespeare’s Antony and Cleopatra, Antony’s ‘liquefaction’ reflects the core of his interiority, which is identified with his love affair with Cleopatra. Their desire requires a third party, Rome, in relation to which a seemingly self-enclosing erotic universe is built, and against which Antony fights for ascendancy, as a ghostly heroic self. In John Dryden’s All for Love, the historical flux vanishes, Antony’s heroic past figures as a residue and history as an embarrassment to love. In contrast with Shakespeare’s heroes, the lovers’ domestication foregrounds the compatibility of love and eros within marriage.

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Section: Mots CL éSmentioning

confidence: 99%

‘And makes it indistinct / As water is in water’: The melting away of the heroic subject in Antony and Cleopatra and All for Love

Velissariou

2020

Cahiers Élisabéthains: A Journal of English Renaissance Studies

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The political relevance of a love story: Thomas Otway’s interpretation of Shakespeare’s Romeo and Juliet

Lutsenko

2024

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The article is devoted to the reception of Shakespeare’s works in England in the last third of the 17th century, when Shakespeare’s plays were rewritten for the stage and adapted to the contemporary conditions and rules of English drama. Thomas Otway is considered one of the major translator-interpreters of Shakespeare plays into the language of his own modernity. The article examines how Otway treats the love story of Romeo and Juliet, namely, which elements he rewrites, which are left exactly as in Shakespeare’s Romeo and Juliet, and which are completely removed from the text of Otway’s play. Thus, the adaptation is regarded as a kind of translation within the framework of a single national tradition — from the language of the Elizabethan era to the language of the Restoration. Of particular importance are the changes made by Otway to the final episode of the play (the lovers get a chance to say goodbye to each other before their death, which does not exist in Shakespeare’s play). It is also important to mention that Otway’s play reflects the political situation of his epoch. Otway’s interpretation influenced all subsequent adaptations and European (German and French) translations of the 18th century.

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Shakespeare and Other Adaptations

Cited by 2 publications

References 5 publications

‘And makes it indistinct / As water is in water’: The melting away of the heroic subject in Antony and Cleopatra and All for Love

‘And makes it indistinct / As water is in water’: The melting away of the heroic subject in Antony and Cleopatra and All for Love

The political relevance of a love story: Thomas Otway’s interpretation of Shakespeare’s Romeo and Juliet

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