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First published in 1951. The edition reprints the second, updated, edition, of 1977. When first published this book quickly established itself as the standard survey of Shakespeare's imagery considered as an integral part of the development of Shakespeare's dramatic art. By illustrating, through the use of examples the progressive stages of Shakespeare's use of imagery, and in relating it to the structure, style and subject matter of the plays, the book throws new light on the dramatist's creative genius. The second edition includes a new preface and an up-to-date bibliography.
First published in 1951. The edition reprints the second, updated, edition, of 1977. When first published this book quickly established itself as the standard survey of Shakespeare's imagery considered as an integral part of the development of Shakespeare's dramatic art. By illustrating, through the use of examples the progressive stages of Shakespeare's use of imagery, and in relating it to the structure, style and subject matter of the plays, the book throws new light on the dramatist's creative genius. The second edition includes a new preface and an up-to-date bibliography.
An analysis of the ways in which Shakespeare's imagery functions to reveal literary and personal motives.
This lively and innovative introduction to Shakespeare promotes active engagement with the plays, rather than recycling factual information. Covering a range of texts, it is divided into seven subject-based chapters: Character; Performance; Texts; Language; Structure; Sources and History, and it does not assume any prior knowledge. Instead, it develops ways of thinking and provides the reader with resources for independent research through the 'Where next?' sections at the end of each chapter. The book draws on scholarship without being overwhelmed by it, and unlike other introductory guides to Shakespeare it emphasizes that there is space for new and fresh thinking by students and readers, even on the most-studied and familiar plays.
If it is not generally known that the foundations of twentieth-century criticism of Shakespeare’s imagery were laid over one hundred and fifty years ago, the explanation lies in the limited availability of the single original edition of Walter Whiter’s Specimen of a Commentary on Shakspeare published in 1794. In an age in which the study of Shakespeare’s characters was of prime interest and importance, Whiter – a classical scholar who took holy orders and ended his life as a country parson – developed a form of textual criticism closely linked to a study of the workings of the human mind: and his book offers a psychological survey of the creative imagination, following the principles laid down in Locke’s Essay on Human Understanding and illustrated by examples from Shakespeare’s plays. In his realization that Shakespeare provides the finest examples of the poetic imagination Whiter is of his time: but in his particular study of the associative powers of such a mind engaged in the process of creation, he is far in advance of his time and has no immediate disciples in the later nineteenth century. In the twentieth century, however, there was an increasing acknowledgement of Whiter’s work and a more frequent appeal for the reissue of his book. Originally published in 1967, the present edition was started in response to that appeal more than ten years before Mr Alan Over’s tragic death in 1964 and incorporates the revisions and additions made by Whiter for his own projected second edition.
A study of the meaning of Shakespeare's musical imagery in his plays and poems.
The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.
The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.
Providing a unique combination of well-written, up-to-date background information and intriguing selections from primary documents, The Bedford Companion to Shakespeare introduces students to the topics most important to the study of Shakespeare in their full historical and cultural context. This new edition contains many new documents, particularly by women and other marginalized voices from the early modern period. There is also a new chapter on Shakespeare in performance, which introduces students to the great variety of productions of Shakespeare's works over the centuries.