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Author: Robert Blanchard Raffles
Publisher:
ISBN:
Category :
Languages : en
Pages : 16
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![Introductory questions on Shakespeare's As you like it. [With] On the teaching of Shakespeare, a preface PDF](https://books.google.com/books/content/images/frontcover/JQYJAAAAQAAJ?fife=w80-h100)
Author: Robert Blanchard Raffles
Publisher:
ISBN:
Category :
Languages : en
Pages : 16
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Author: Albert Harris Tolman
Publisher:
ISBN:
Category :
Languages : en
Pages : 262
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Author: Albert Harris Tolman
Publisher:
ISBN:
Category :
Languages : en
Pages : 236
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Author: Albert Harris Tolman
Publisher:
ISBN:
Category :
Languages : en
Pages : 240
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Author: Robert Blanchard Raffles
Publisher:
ISBN: 9781436882910
Category :
Languages : en
Pages : 48
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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Author: Albert Harris Tolman
Publisher:
ISBN:
Category :
Languages : en
Pages : 240
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Author: Emma Smith
Publisher: Vintage
ISBN: 1524748552
Category : Literary Criticism
Languages : en
Pages : 263
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An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
Author: Michael Scott
Publisher: Vernon Press
ISBN: 1648895182
Category : Literary Criticism
Languages : en
Pages : 243
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Christian Shakespeare? The question was put to each contributor to this collection of essays. They received no further guidance about how to understand the question nor how to shape their responses. No particular theoretical approach, no shared definition of the question was required or encouraged. Rather, they were free to join, in whatever way they thought useful, the extensive discourse about the impact that the Christian faith and the religious controversies of Shakespeare’s time had on his poems and plays. The range of responses points not only to openness of Shakespeare’s work to interpretation, but to the seriousness with which the writers reflected on the question and to their careful and sensitive reading of the poems and plays. The heterogeneity of Shakespeare’s world is reflected in the heterogeneity of the essays, each an individual response to the complex question they engage. In the end, what the plays and poems reveal about Shakespeare’s Christianity remains unclear, and that lack of clarity has also contributed to the variety of responses in the collection. All the essays recognize, to some degree or another, that the tension in Shakespeare’s world between old and new, medieval and early modern, Catholic and Protestant, brought uncertainty (and in some cases anxiety) to the minds and hearts of Shakespeare’s contemporaries. But what Shakespeare himself believed, how he responded in his work to the religious turmoil of his time remains uncertain. For some of the contributors Shakespeare’s plays are inescapably indeterminate (even evasive) and open to a multiplicity of possible readings. For others, Shakespeare takes a stand and, through the careful patterning of his plays, speaks more or less unambiguously to the religious and political issues of his time. Together the essays reflect the varied ways in which the question of Shakespeare’s Christianity might be answered.
Author: Odell Shepard
Publisher: General Books
ISBN:
Category :
Languages : en
Pages : 232
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Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: JULIUS CSAR GENERAL QUESTIONS 1. To show the simplicity of the plot material, outline the action in one hundred words or less. 2. Give reasons for the play's comparative poverty in subtle analysis of character and motive and in poetic beauty. What is the influence, in this respect, of the . nobly simple, austere, and somewhat stiff personality of Brutus ? If Antony had been allowed to dominate and determine the tone of the play, how would the play have differed in effect ? It would not be entirely misleading to compare, in this connection, the wonderfully rich and various Antony and Cleopatra. Coriolanus also has a voluminous majesty and a sumptuous splendor which forbids the assertion that the simplicity of Julius Ccesar is due to the poet's estimate of the Roman type of mind. 3. What powers of the poet's mind are scarcely brought into play in this drama ? What powers are clearly in evidence ? ' 4. Try to define the exact nature of the pleasure you take 'in this play. Is it at all like the pleasure you take in any of the great tragedies or in any of the comedies ? ' ''' 5. Why is this play especially suited to the comprehen- /; sion of children and to the elementary type of mind among adults ? (This must not, of course, be understood to imply condemnation, unless we wish to include in that condemnation almost the entire tragic theater of the ancient world.) What scenes do you leave out of consideration in your answers to this and to the three preceding questions ? 6. Would you say that in this play the poet's powers of expression are in advance of his thought or thatjjiejr lag-Jbehind his thought? Or are thought and expression in a nearly perfect equipoise ? Select several passages in illustration. Compare A Midsummer Night's Dream and The Tempest in this ...
Author: Albert Harris Tolman
Publisher:
ISBN:
Category :
Languages : en
Pages : 322
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