Shakespeare, Contemporary Critical ApproachesHarry Raphael Garvin, Michael Payne Bucknell University Press, 1980 - 187 من الصفحات The study and criticism of Shakespeare has always been of major interest in the literary world but never more than in the last ten years. The essays in this volume explore Shakespeare's art that is complementary to the experience of his plays. The feelings of the essays create a sensitive atmosphere for creative study. |
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الصفحة 9
... Eye . The essays in this issue of the Bucknell Review were written . against the background of the Shakespeare revolution but are not themselves specific or primary contributions to it . Instead the essays explore dimensions of ...
... Eye . The essays in this issue of the Bucknell Review were written . against the background of the Shakespeare revolution but are not themselves specific or primary contributions to it . Instead the essays explore dimensions of ...
الصفحة 22
... eyes of men through loop - holes thrust , Gazing upon the Greeks with little lust : Such sweet observance in this work was had , That one might see those far - off eyes look sad . ( 11. 1382-86 ) In Lucrece's picture , too , the scene ...
... eyes of men through loop - holes thrust , Gazing upon the Greeks with little lust : Such sweet observance in this work was had , That one might see those far - off eyes look sad . ( 11. 1382-86 ) In Lucrece's picture , too , the scene ...
الصفحة 23
... eye of mind ; A hand , a foot , a face , a leg , a head , Stood for the whole to be imagined . ( 11. 1422-28 ) The battle scenes are described in general terms in Lucrece's pic- ture , but the impact of war is as grim and horrible as ...
... eye of mind ; A hand , a foot , a face , a leg , a head , Stood for the whole to be imagined . ( 11. 1422-28 ) The battle scenes are described in general terms in Lucrece's pic- ture , but the impact of war is as grim and horrible as ...
الصفحة 24
... eyes and open mouths as they pull the fatal horse within the gates of Troy which , with grim irony , other warriors struggle to dismantle . Lucrece , in her solitude , is brought close to frenzy as she imagines Hecuba weeping over the ...
... eyes and open mouths as they pull the fatal horse within the gates of Troy which , with grim irony , other warriors struggle to dismantle . Lucrece , in her solitude , is brought close to frenzy as she imagines Hecuba weeping over the ...
الصفحة 26
... eyes gleam'd forth their ashy lights , Like dying coals burnt out in tedious nights . ( 11. 1377-79 ) These paradoxical reversals of fire and water , light and dark , hot and cold imagery — Mannerist in feeling and intent - produce ...
... eyes gleam'd forth their ashy lights , Like dying coals burnt out in tedious nights . ( 11. 1377-79 ) These paradoxical reversals of fire and water , light and dark , hot and cold imagery — Mannerist in feeling and intent - produce ...
المحتوى
13 | |
31 | |
Italian Cinquecento Art and Shakespeares Last Plays | 54 |
Shakespeare and Marxism | 85 |
Feudal and Bourgeois Concepts of Value in The Merchant of Venice | 87 |
King Lear and the Social Dimensions of Shakespearean Tragic Form 16031608 | 100 |
Interpretations of The Tempest | 113 |
Cracking the Code of The Tempest | 115 |
Contrary Comparisons in The Tempest | 126 |
Shakespeares Creation of a Fit Audience for The Tempest | 136 |
The Perspective of The Tempest | 148 |
Telling the Magician from the Magic in The Tempest | 164 |
عبارات ومصطلحات مألوفة
aesthetic Alonso Antony and Cleopatra Antony's Aretino's Ariel aristocratic artist audience becomes Belmont bourgeois concept Caliban capitalism casket characters Circe concept of value contrary contrast created critics Cymbeline death divine dramatic emotion England English etchings evil example experience Ferdinand feudal figure Giulio Romano Gonzalo Hermione Hilliard human Ibid idea ideal imagination imitation Italian King Lear last plays Leontes live Lomazzo London Lucrece Lucrece's Macbeth magic magician Mannerist Mark Antony masque medieval Merchant of Venice metastance Mignon's mind Miranda moral nature Nicholas Hilliard Othello Oxford painter painting passion Pericles perspective picture play's pleasure plot Portia present Prince Prospero reality Renaissance role scene seems sense Shakespeare Shakespeare's play Shylock social identity society sonnets spectator spirit stance story suggests symbolic Tempest theater Timon of Athens tion traditional tragedy tragic trans transcendence transformation Troy truth University Press Vasari Venus vision visual art Winter's Tale York
مقاطع مشهورة
الصفحة 175 - And mine shall. Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply Passion as they, be kindlier mov'd than thou art ? Though with their high wrongs I am struck to the quick, Yet, with my nobler reason, 'gainst my fury Do I take part.
الصفحة 134 - gainst my fury Do I take part : the rarer action is In virtue than in vengeance : they being penitent, The sole drift of my purpose doth extend Not a frown further.
الصفحة 50 - His legs bestrid the ocean : his rear'd arm Crested the world : his voice was propertied As all the tuned spheres, and that to friends ; But when he meant to quail and shake the orb, He was as rattling thunder. For his bounty...
الصفحة 174 - But if the LORD make a new thing, and the earth open her mouth, and swallow them up, with all that appertain unto them, and they go down quick into the pit ; then ye shall understand that these men have provoked the LORD.
الصفحة 90 - value," or " worth " of a man, is as of all other things, his price ; that is to say, so much as would be given for the use of his power : and therefore is not absolute ; but a thing dependent on the need and judgment of another.
الصفحة 157 - I'd divide, And burn in many places ; on the topmast, The yards and bowsprit, would I flame distinctly, Then meet, and join. Jove's lightnings, the precursors O...
الصفحة 90 - But whatsoever is the object of any man's appetite or desire, that is it which he for his part calleth 'good'; and the object of his hate and aversion, 'evil'; and of his contempt 'vile' and 'inconsiderable.' For these words of good, evil, and contemptible, are ever used with relation to the person that useth them, there being nothing simply and absolutely so; nor any common rule of good and evil, to be taken from the nature of the objects themselves...
الصفحة 46 - That time, — O times ! — I laugh'd him out of patience ; and that night I laugh'd him into patience : and next morn, Ere the ninth hour, I drunk him to his bed ; Then put my tires and mantles on him, whilst I wore his sword Philippan.