Titlebook: Shakespeare: Seven Tragedies Revisited; The Dramatist’s Mani E. A. J. Honigmann Book 2002Latest edition E. A. J. Honigmann 2002 consciousne

果核

Hamlet as Observer and Consciousness,tisfied with his first mature tragedy, and that he went over the same ground again because he recognised, too late, that he had not made the most of it. Advancing from Brutus to Hamlet he must have pondered many of the fundamental questions of tragedy — not least, I think, the tragic hero’s relation

Chauvinistic

震驚

,Lear’s Mind,ing up and disclosing to the bottom that sea, his mind, with all its vast riches. It is his mind which is laid bare … while we read [the tragedy] we see not Lear, but we are Lear, — we are in his mind. (Charles Lamb)1

星球的光亮度

,: the Murderer as Victim, in 1823 and still regarded as an anthology-piece. Important for its recognition of a major critical task, De Quincey’s essay fails, I think, as an explanation of the effect of one of Shakespeare’s greatest scenes — yet, right or wrong, it raises questions about response that are still worth asking

內(nèi)疚

生意行為

The Clarity of ,,ragedies, where he dispensed with many of the essentials of tragedy as he himself had come to see it, the inward-looking hero, the metaphysical interest, the supernatural, the spiritualised emotions. Instead of continuing to work in this successful framework he tried out a different kind of tragedy,

saphenous-vein

,: the Rabbit and the Duck,. Shakespeare invented the less admirable traits of Brutus and Caesar, I have argued, to make them more interestingly complicated as dramatic characters (see pp. 31–40, 53) — could that have been his intention in . as well? Or could . have been written in reaction to Henry who seems, on first acquai

微枝末節(jié)

The Charm of ,, prosody, conventions, attitudes to authority, the length of plays, scenes, speeches — these and many other components tell us ‘This is one of Shakespeare’s plays. No one else could have written it.’ Plays in the same genre can be particularly close. If we want to identify the distinctive character

etiquette

Conclusion,of his plays. The question ‘What should Hamlet do or say next?’ must have been inseparable for the dramatist from the question ‘How will it affect the audience?’ As he shaped each play its response problems seem to have been in the forefront of his mind, together with character and plot, at a more c

ligature

Introduction: Shakespeare and the Study of Response,cord how he reacts to a play must know when his response is ripe, and ready for collecting. During a performance, immediately after it, a little later, or much later? Indeed, can he respond and observe his own response both at once?