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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... writing from the publishers . The publishers have made every effort to contact authors / copyright holders of the works reprinted in Routledge Library Editions - Shakespeare . This has not been possible in every case , however , and we ...
... writing from the publishers . The publishers have made every effort to contact authors / copyright holders of the works reprinted in Routledge Library Editions - Shakespeare . This has not been possible in every case , however , and we ...
第 7 頁
... writers the interpretive formulae which they need , they will take them where they can find them , in the stereotypes of cheap writing . To abandon the public to the mercies of meretricious art is not a small responsibility . There is a ...
... writers the interpretive formulae which they need , they will take them where they can find them , in the stereotypes of cheap writing . To abandon the public to the mercies of meretricious art is not a small responsibility . There is a ...
第 12 頁
... writer's beliefs and his works is not available to us . But even if it were , we should have to admit , if we were honest , that there is no graph of developing Weltanschauung which can make any sense at all : the track of ' bitterness ...
... writer's beliefs and his works is not available to us . But even if it were , we should have to admit , if we were honest , that there is no graph of developing Weltanschauung which can make any sense at all : the track of ' bitterness ...
第 19 頁
... writing was needed in the progress from personal experience no one will ever know , but perhaps Yeats is the poet to think of in analogy . Where is the sequence to be found ? I suggest it is in the order in which the sonnets were first ...
... writing was needed in the progress from personal experience no one will ever know , but perhaps Yeats is the poet to think of in analogy . Where is the sequence to be found ? I suggest it is in the order in which the sonnets were first ...
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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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常見字詞
accept achieved action affection attempt audience beauty becomes beginning believe Berowne bring changed characters comedy comes continuous course created dark death desire divine Dream Duke experience eyes fact failure feel final follow force Friar give Hamlet hate heaven human idea imagination innocence Jaques killing kind king Lear lives Lost Love's lovers lust marriage meaning Measure Measure for Measure mind move nature never Night Othello pattern Pericles person play poem poet poetry possible present problem question reality reason relation Romeo and Juliet scene seems seen sense sequence sexual Shakespeare sonnets speak speech spirit stage story strange suggest surely Tale Tempest Theseus things thou thought Timon tragedy Troilus and Cressida true truth trying turn Ulysses wants whole wish woman writing