Titlebook: Imagining Shakespeare; A History of Texts a Stephen Orgel Book 2003 Palgrave Macmillan, a division of Macmillan Publishers Limited 2003 bio

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The Pornographic Ideal,xt of only two words that has become a notorious crux for both performers and editors. Near the end of . we are told of a surpassingly lifelike statue of the late queen Hermione, the work of “that rare Italian master Giulio Romano,” commissioned and owned by the noble Paulina, connoisseur and archit

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Imagining Shylock,, since the eighteenth century, increasingly resonant and disturbing. Shylock is conventionally identified as an outsider in ., though generally as a prelude to observing how he also embodies all the essential Venetian qualities. I shall not question what seems to me a critical truism, but I do want

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Epilogue,c conclusion to this investigation, in that it so neatly exemplifies the utter dependency of text on interpretation, and accurately foretells the complex and divided history of performance. Increasingly strenuous attempts by playwrights to control the interpretation of their plays, from Jonson’s int

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d from his time to ours. Drawing on performance history, textual history and the visual arts (including a fascinating chapter on portraiture), Imagining Shakespeare displays throughout the cultural versatility, elegance, lucidity and wit which have become the hallmarks of Stephen Orgel‘s style.978-0

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Book 2003 time to ours. Drawing on performance history, textual history and the visual arts (including a fascinating chapter on portraiture), Imagining Shakespeare displays throughout the cultural versatility, elegance, lucidity and wit which have become the hallmarks of Stephen Orgel‘s style.

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History and Biography, of Shakespeare with any claim to authenticity. These are the engraving on the folio title page, the memorial monument to Shakespeare in the Stratford parish church, and a painting now called the Flower portrait; I shall for the moment consider only the first two, and return to the third.

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