Shakespeare and the Confines of ArtRoutledge, 11. okt. 2013 - 184 sider First published in 1968. By selective study of certain of the comedies, tragedies and sonnets, Philip Edwards views Shakespeare's work as a whole and explains why his art developed as it did. The work which the author sees Shakespeare striving to create is the perfect fusion of comedy and tragedy and he suggests that we are watching the progress of a mind as acutely conscious as anyone today of the disorder and lack of meaning in the world. Nevertheless, it remains faithful to the possibility that within the imaginable forms of drama there exists that play which will satisfy the basic human need for reassurance, order and control. |
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Side 2
... imagination . Poetry , he tells us later , ' is rather a pleasure or play of imagination , than a work or duty thereof ' . The contempt for wishful thinking which informs Bacon's discussion of Idols lies behind his discussion of poetry ...
... imagination . Poetry , he tells us later , ' is rather a pleasure or play of imagination , than a work or duty thereof ' . The contempt for wishful thinking which informs Bacon's discussion of Idols lies behind his discussion of poetry ...
Side 3
... imagination of the poet , body- ing forth the forms of things unknown , with the delusions of lovers and lunatics . Just how far Shakespeare himself shared in the scepticism of his characters , it is the purpose of this book to inquire ...
... imagination of the poet , body- ing forth the forms of things unknown , with the delusions of lovers and lunatics . Just how far Shakespeare himself shared in the scepticism of his characters , it is the purpose of this book to inquire ...
Side 9
... most intense point in art , is a truth - finding activity . Coleridge knew the fear of the world as a mass of little things , a collection of dead objects . The ' esemplastic ' power of imagination has the power The Contrary Valuations.
... most intense point in art , is a truth - finding activity . Coleridge knew the fear of the world as a mass of little things , a collection of dead objects . The ' esemplastic ' power of imagination has the power The Contrary Valuations.
Side 10
... imagination is the living creativity of all human perceiving . The poetic or secondary imagination is the creation of worlds which model the divinely - created world ( ' nature itself is to a religious observer the art of God ' ) and so ...
... imagination is the living creativity of all human perceiving . The poetic or secondary imagination is the creation of worlds which model the divinely - created world ( ' nature itself is to a religious observer the art of God ' ) and so ...
Side 18
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Innhold
1 | |
2 The Sonnets to the Dark Woman | 17 |
3 Loves Labours Lost | 33 |
4 The Abandond Cave | 49 |
5 Romeo and Juliet | 71 |
6 Hamlet | 83 |
7 The Problem Plays i | 95 |
8 The Problem Plays ii | 109 |
9 The Jacobean Tragedies | 121 |
10 Last Plays | 139 |
Conclusion | 161 |
Notes | 163 |
Index | 168 |
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accept achieved Achilles action All's audience beauty believe Berowne Bertram bring Capulet characters Comedy of Errors comedy's conventions Cordelia corrupt created Dark Woman death Desdemona divine drama Duke Emilia evil experience fantasy feel festive comedies Florizel Friar Frye give Hamlet hate hath heaven Helena honour human Iago idea imagination innocence Jaques killing kind King Lear Leontes lives Love's Labour's Lost lovers lust Macbeth marriage masque Measure for Measure Midsummer Night's Dream mistress mood move nature of things Noble Kinsmen Othello Palamon pattern Perdita Pericles poem poet poetic poetry Prospero reality Romances Romeo and Juliet Rosalind scene scepticism seems sense sequence sexual Shake Shakespeare song sonnets speech spirit story suggest Tempest thee Theseus thou Timon tragedy Troilus and Cressida truth trying turn Twelfth Night Ulysses valuation victory vision Winter's Tale words writing youth