Shakespeare and the Confines of ArtRoutledge, 2013年10月11日 - 184 頁 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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第 1 到 5 筆結果,共 43 筆
第 4 頁
... death of Richard III performed by actors on a public stage . Every model , its shape dictated by the nature of the medium ( stone , canvas , stage , sonnet ) , is a simplification of the thing represented . The person or situation ...
... death of Richard III performed by actors on a public stage . Every model , its shape dictated by the nature of the medium ( stone , canvas , stage , sonnet ) , is a simplification of the thing represented . The person or situation ...
第 5 頁
... death , and he hates those who may supersede him . There are big differences in the ways in which different plays of Shakespeare palliate the fear of supersession . Generally speaking , in the comedies the deposed Duke is eventually ...
... death , and he hates those who may supersede him . There are big differences in the ways in which different plays of Shakespeare palliate the fear of supersession . Generally speaking , in the comedies the deposed Duke is eventually ...
第 6 頁
... death were part of a grand seasonal necessity . These plays solemnize downfall and usurpation . Partly , these dark things seem , if not reasonable , then explicable . The nameless fear , the isolated shock , the meaningless ...
... death were part of a grand seasonal necessity . These plays solemnize downfall and usurpation . Partly , these dark things seem , if not reasonable , then explicable . The nameless fear , the isolated shock , the meaningless ...
第 13 頁
... death which is supposed to purge us of our own fear . But as he did all these things , he would ( to continue our sup- position ) for his own satisfaction be trying to enlarge the bound- aries of drama and increase the possibilities of ...
... death which is supposed to purge us of our own fear . But as he did all these things , he would ( to continue our sup- position ) for his own satisfaction be trying to enlarge the bound- aries of drama and increase the possibilities of ...
第 29 頁
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內容
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