Shakespeare and TragedyRoutledge, 2021年3月30日 - 236 頁 Every generation develops its own approach to tragedy, attitudes successively influenced by such classic works as A. C. Bradley’s Shakespearean Tragedy and the studies in interpretation by G. Wilson Knight. A comprehensive new book on the subject by an author of the same calibre was long overdue. In his book, originally published in 1981, John Bayley discusses the Roman plays, Troilus and Cressida and Timon of Athens as well as the four major tragedies. He shows how Shakespeare’s most successful tragic effects hinge on an opposition between the discourses of character and form, role and context. For example, in Lear the dramatis personae act in the dramatic world of tragedy which demands universality and high rhetoric of them. Yet they are human and have their being in the prosaic world of domesticity and plain speaking. The inevitable intrusion of the human world into the world of tragedy creates the play’s powerful off-key effects. Similarly, the existential crisis in Macbeth can be understood in terms of the tension between accomplished action and the free-ranging domain of consciousness. What is the relation between being and acting? How does an audience become intimate with a protagonist who is alienated from his own play? What did Shakespeare add to the form and traditions of tragedy? Do his masterpieces in the genre disturb and transform it in unexpected ways? These are the issues raised by this lucid and imaginative study. Professor Bayley’s highly original rethinking of the problems will be a challenge to the Shakespearean scholar as well as an illumination to the general reader. |
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... effects serve to propel us more surely into the world of the work of art. But Shakespeare's plays are not 'theatre' in the sense in which the ordinary play is expected to be, and usually confirms itself as. Brecht's plays are plays in ...
... effect is to make our consciousness feel homeless. There is in a way no tragedy other than the awareness of this. There are worlds which we can imagine and dream of in our philosophy but which we cannot live in – this is true even of ...
... effect. The account in the Arcadia is moving; doubtless Shakespeare found it so. In the undefined area in which the play wanders, the Paphlagonian king and Gloucester are quite assimilable to one another, but Sidney's sweet and ...
... effects Gloucester appears as he is to himself – a man afflicted past bearing, like Job. This world I do renounce, and in your sights Shake patiently my great affliction off ... The idea of doing oneself in 'patiently' is a remarkable ...
... effect. No deliberation seems involved. By contrast, there is deliberation, and of the most effective kind, in the ways Shakespeare secures tragic appropriateness in its proper place and context, for example at the end of Julius Caesar ...
內容
THE NATURES OF DEATH | |
THE BIG IDEA | |
LONGING AND HOMESICKNESS | |
DETERMINED THINGS THE CASE OF THE CAESARS | |
THE THING I | |
TRAGEDY AND CONSCIOUSNESS | |
ANNOTATED BIBLIOGRAPHY | |