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- W1962166538 abstract "Howard Felperin writes that a Shakespeare invites two contradictory responses: on one hand, demands a conservative or archeological response in so far as carries within itself an archaic or received sign-system; on other, insists on its own difference from that older sign-system, its departure from prior art in direction of present life (Shakespearean Representation 8). He adds that literature seems to carry its own history encoded or inscribed within it (27). The Tempest has remained one of most closed plays in entire canon; seems very emblem of closure. Yet many think that contains Shakespeare's veiled farewell to theater or that reflects topical concerns of court aesthetics and royal family of James I. I would like to examine question of boundary and closure in The Tempest, especially in relation to wedding masque in Act IV, scene i. Although self-contained and independent, masque seems incomplete, not only because Prospero breaks off but also because raises questions about a possible antimasque embedded in it. My main contention here is that boundaries of masque collapse to reveal an antimasque-like reality. From this examination, one can perhaps make generalizations about play's generic encoding and embedded literary history. One can hardly disagree with Geoffrey Bullough's statement that although Masque of Ceres and Juno affects plot little, fits admirably into ethical pattern of play (237). Stephen Orgel cautions against seeking connections between this interlude and court entertainments: the masque in The Tempest is not a court masque, is a dramatic allusion to one, and functions in structure of drama not as a separable interlude but as an integral part of action (Introd. to Tempest 43-44). Obviously, masque is very" @default.
- W1962166538 created "2016-06-24" @default.
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- W1962166538 date "1987-09-01" @default.
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- W1962166538 title "Closure and the Antimasque of The Tempest" @default.
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