Shakespeare, Contemporary Critical Approaches
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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Italian Cinquecento Art and Shakespeares Last Plays
Shakespeare and Marxism
Feudal and Bourgeois Concepts of Value in The Merchant of Venice
King Lear and the Social Dimensions of Shakespearean Tragic Form 16031608
Interpretations of The Tempest
Cracking the Code of The Tempest
Contrary Comparisons in The Tempest
Shakespeares Creation of a Fit Audience for The Tempest
The Perspective of The Tempest
Telling the Magician from the Magic in The Tempest
accept achieve action Antony appears Ariel aristocratic artist audience becomes believe bourgeois Caliban calls capitalism characters Cleopatra complete concept contrary contrast course created critics death described desire divine drama effect Elizabethan England English evil example experience express eyes Ferdinand feudal figure final forces Giulio gives hand Hermione human idea ideal identity imagination imitation important Italian Italy King Lear lines live London Lucrece magic Mark meaning Merchant metastance mind Miranda moral nature object once painter painting passion perspective picture play pleasure plot position possible present Prospero provides reason Renaissance represents response role scene seems sense Shakespeare shows social social identity society spectator spirit stage story Studies suggests symbolic Tale Tempest things thought tion traditional tragedy trans transformation truth understanding University Press Venice Venus vision visual wholeness York
Page 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.
Page 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.
Page 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...
Page 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.
Page 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.
Page 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...
Page 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...
Page 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.