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. |
搜尋書籍內容
第 1 到 5 筆結果,共 32 筆
第 頁
... Dramatic Art A Commentary on Shakespeare's Richard III The Development of Shakespeare's Imagery Shakespeare Shakespeare and the Confines of Art Shakespeare the Dramatist Shakespeare's Drama The Language of Shakespeare's Plays Coleridge ...
... Dramatic Art A Commentary on Shakespeare's Richard III The Development of Shakespeare's Imagery Shakespeare Shakespeare and the Confines of Art Shakespeare the Dramatist Shakespeare's Drama The Language of Shakespeare's Plays Coleridge ...
第 5 頁
... drama a vicarious existence : it is something ' lived through ' . It is indeed a ' play ' : a simulacrum of life that is momentarily put in place of life itself . This imitation of life has the beginning and the middle and the end that ...
... drama a vicarious existence : it is something ' lived through ' . It is indeed a ' play ' : a simulacrum of life that is momentarily put in place of life itself . This imitation of life has the beginning and the middle and the end that ...
第 10 頁
... drama are something we have to try to explain . On the one hand , there is the fact of his extraordinary variety . We can think of the man who in a few years , while he was in his twenties , created comedies as different in kind as ...
... drama are something we have to try to explain . On the one hand , there is the fact of his extraordinary variety . We can think of the man who in a few years , while he was in his twenties , created comedies as different in kind as ...
第 13 頁
... drama which will accurately record the manners and doings of men ; that , as a dramatist , he knew he was dealing in conventions , the main categories of which ( even in those early days of the public theatre in England ) were firmly ...
... drama which will accurately record the manners and doings of men ; that , as a dramatist , he knew he was dealing in conventions , the main categories of which ( even in those early days of the public theatre in England ) were firmly ...
第 14 頁
... dramatic fictions . But I do not see this ' negative capability ' which is supposed to accompany his not being a metaphysician . He appears to me to thirst , quite irritably sometimes , after fact and reason . But his only way of ...
... dramatic fictions . But I do not see this ' negative capability ' which is supposed to accompany his not being a metaphysician . He appears to me to thirst , quite irritably sometimes , after fact and reason . But his only way of ...
內容
1 | |
17 | |
Loves Labours Lost | 33 |
The Abandond Cave | 49 |
Romeo and Juliet | 71 |
Hamlet | 83 |
The Problem Plays i | 95 |
The Problem Plays ii | 109 |
The Jacobean Tragedies | 121 |
Last Plays | 139 |
Conclusion | 161 |
Notes | 163 |
Index | 168 |
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