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Analysing Shakespeare's historical background and craft, Spencer's 1943 study investigates the intellectual debates of Shakespeare's age, and the effect these had on the drama of the time. The book outlines the key conflict present in the sixteenth century - the optimistic ideal of man's place in the universe, as presented by the theorists of the time, set against the indisputable and ever-present fact of original sin. This conflict about the nature of man, argues Spencer, is perhaps the deepest underlying cause for the emergence of great Renaissance drama. With detailed reference to Shakespeare's great tragedies, the book demonstrates how Shakespeare presents the fact of evil masked by the appearance of good. Shakespeare's last plays, especially The Winter's Tale and The Tempest, are also analysed in detail to show how they embody a different view from the tragedies, and the discussion is related to the larger perspective of general human experience.
Lucretius and Shakespeare on the Nature of Things maps large, new vistas for understanding the relationship between De rerum natura and Shakespeare’s works. In chapters on six important plays across the canon (King Lear, Macbeth, Hamlet, The Merchant of Venice, The Tempest, and A Midsummer Night’s Dream), it demonstrates that Shakespeare articulates his erotics of being, his “great creating nature” (The Winter’s Tale), by drawing on imagery he learned from Ovid and other classical poets, but especially from Lucretius, in his powerful epic that celebrates Venus and her endless creativity. Responding to Lucretius’s widely admired Latinity in his exposition of the life of man in nature, Shakespeare emerges as an early modern materialist who writes poetry that is effectively “atomic,” marked (as we might say today) by fission (hendiadys, for example) and fusion (synoeciosis, for example), joining and splitting, splitting and joining language and character as no other poet has ever done – To give away yourself keeps yourself still; My grave is like to be my wedding bed; I begin/To doubt the equivocation of the fiend/That lies like truth. Readers of Shoaf’s book will encounter anew, through both fresh evidence and close reading, Shakespeare’s universally acknowledged commitment to the art of nature and the nature of art. With Lucretius’s poetry as inspiration, Shakespeare becomes the poet of the material, both in art and in nature, immensely creative with his dædala lingua like dædala natura – his wonder-crafting tongue like wonder-working nature.
Harold Bloom, the doyen of American literary critics and author of 'The Western Canon', has spent a professional lifetime reading, writing about, and teaching Shakespeare. In this magisterial interpretation, Bloom explains Shakespeare's genius in a radical and provocative re-reading of the plays.
Thinking Shakespeare gives theater artists practical advice about how to make Shakespeare’s words feel spontaneous, passionate, and real. Based on Barry Edelstein’s thirty-year career directing Shakespeare’s plays, this book provides the tools that artists need to fully understand and express the power of Shakespeare’s language.
Presenting Shakespeare's plays from both a historical and philosophical point of view. Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Troilus and Cressida.
This collection of essays represents, in the view of the editors, the best critical work represented at the World Shakespeare Congress in 1976. The work of leading Shakespeareans is represented, along with the work of several younger scholars and critics on a wide variety of subjects.
An award-winning scholar and teacher explores how Shakespeare's greatest characters were built on a learned sense of empathy While exploring Shakespeare's plays with her students, Paula Marantz Cohen discovered that teaching and discussing his plays unlocked a surprising sense of compassion in the classroom. In this short and illuminating book, she shows how Shakespeare's genius lay with his ability to arouse empathy, even when his characters exist in alien contexts and behave in reprehensible ways. Cohen takes her readers through a selection of Shakespeare's most famous plays, including Hamlet, Othello, King Lear, and The Merchant of Venice, to demonstrate the ways in which Shakespeare thought deeply and clearly about how we treat "the other." Cohen argues that only through close reading of Shakespeare can we fully appreciate his empathetic response to race, class, gender, and age. Wise, eloquent, and thoughtful, this book is a forceful argument for literature's power to champion what is best in us.
Named One of Esquire's 50 Best Biographies of All Time The Pulitzer Prize and National Book Award finalist, reissued with a new afterword for the 400th anniversary of Shakespeare’s death. A young man from a small provincial town moves to London in the late 1580s and, in a remarkably short time, becomes the greatest playwright not of his age alone but of all time. How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world’s greatest playwright.
An elegantly hair-raising collection of Edith Wharton's ghost stories, selected and with a preface written by the author herself. No history of the American uncanny tale would be complete without mention of Edith Wharton, yet many of Wharton’s most dedicated admirers are unaware that she was a master of the form. In fact, one of Wharton’s final literary acts was assembling Ghosts, a personal selection of her most chilling stories, written between 1902 and 1937. In “The Lady’s Maid’s Bell,” the earliest tale included here, a servant’s dedication to her mistress continues from beyond the grave, and in “All Souls,” the last story Wharton wrote, an elderly woman treads the permeable line between life and the hereafter. In all her writing, Wharton’s great gift was to mercilessly illuminate the motives of men and women, and her ghost stories never stray far from the preoccupations of the living, using the supernatural to investigate such worldly matters as violence within marriage, the horrors of aging, the rot at the root of new fortunes, the darkness that stares back from the abyss of one’s own soul. These are stories to “send a cold shiver down one’s spine,” not to terrify, and as Wharton explains in her preface, her goal in writing them was to counter “the hard grind of modern speeding-up” by preserving that ineffable space of “silence and continuity,” which is not merely the prerogative of humanity but—“in the fun of the shudder”—its delight. Contents All Souls’ The Eyes Afterward The Lady’s Maid’s Bell Kerfol The Triumph of Night Miss Mary Pask Bewitched Mr. Jones Pomegranate Seed A Bottle of Perrier
Copyright is by no means the only device for asserting ownership of a work. Some writers, including playwrights in the early modern period, did not even view print copyright as the most important of their authorial rights. A rich vein of recent scholarship has examined the interaction between royal monopolies, which have been identified with later notions of intrinsic authorial ownership, and the internal copy registration practices of the English book trades. Yet this dialogue was but one part of a still more complicated conversation in early modern England, James J. Marino argues; other customs and other sets of professional demands were at least as important, most strikingly in the exercise of the performance rights of plays. In Owning William Shakespeare James Marino explores the actors' system of intellectual property as something fundamentally different from the property regimes exercised by the London printers or the royal monopolists. Focusing on Hamlet, The Taming of the Shrew, King Lear, and other works, he demonstrates how Shakespeare's acting company asserted ownership of its plays through intense rewriting combined with progressively insistent attribution to Shakespeare. The familiar versions of these plays were created through ongoing revision in the theater, a process that did not necessarily begin with Shakespeare's original manuscript or end when he died. An ascription by the company of any play to "Shakespeare" did not imply that it was following a fixed, authorial text; rather, Marino writes, it indicates an attempt to maintain exclusive control over a set of open-ended, theatrically revised scripts. Combining theater history, textual studies, and literary theory, Owning William Shakespeare rethinks both the way Shakespeare's plays were created and the way they came to be known as his. It overturns a century of scholarship aimed at re-creating the playwright's lost manuscripts, focusing instead on the way the plays continued to live and grow onstage.