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- W2334125230 abstract "T has been observed that many of Shakespeare's plays have short scenes not indispensable to dramatic plot but significant, nevertheless, in variety of ways. Hereward T. Price, in Mirror Scenes in Shakespeare, describes them when he says, Apparently loose detachable scenes, so-called episodes, are frequent in Shakespeare. They vary in function as well as in techniques, but certain features tend to recur. Many of them are ... mirror scenes, reflecting in one picture either the main theme or some important aspect of the drama. Other offer some kind of contrast to the general run of the action.... Others again affect the plot by keying up or keying down the suspense.' Creizenach called these Szenen des Stillstands.2 They are, in fact, setpieces; and in most instances, they represent marked change in tone. They are quiet scenes in minor key, serving all the ends described by Price-and more. Three of these scenes do much more than to mirror major theme: they provide an emotional experience for the audience which defines major character who might, without the scene, be wrongly interpreted. These scenes are the Garden Scene in Richard II, the Mad Scenes of Ophelia in Hamlet, and the Music-under-the-ground scene in Antony and Cleopatra. In each, the action, not really essential for plot-advancement, is pivotal in the sense that it shows the audience, first and last, how it is supposed to feel about character and about the play as whole. It is commonplace to point out that the Garden Scene in Richard II develops the symbolism of the nation-gone-to-waste under ruler whose sentimental love of country and of kingship are equalled only by his utter neglect of both.3 England, the sea-walled garden, other Eden, has suffered a second fall of cursed man.4 And the gardener, old Adam's likeness and little better thing than earth, unwittingly reports it to the weeping Queen. The irony is, of course, that this natural man is tending his garden as the King is not. The elaborate metaphor of the garden is, indeed, mirroring of the play's subsidiary theme: the necessity of order in the state. However, this mirrorfunction is by no means the principal purpose of the episode. Actually we have no need for reaffirmation of this theme. It has been clear from Act I that" @default.
- W2334125230 created "2016-06-24" @default.
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- W2334125230 date "1970-01-01" @default.
- W2334125230 modified "2023-09-25" @default.
- W2334125230 title "Major Scenes in Minor Key" @default.
- W2334125230 doi "https://doi.org/10.2307/2868402" @default.
- W2334125230 hasPublicationYear "1970" @default.
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