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The "impersonality" of Shakespeare

The
Author: Edward George Harman
Publisher: Ardent Media
Total Pages: 352
Release: 1925
Genre:
ISBN:

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The "impersonality" of Shakespeare

The
Author: Edward George Harman
Publisher: Ardent Media
Total Pages: 348
Release: 1925
Genre:
ISBN:

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Impersonality of Shakespeare

Impersonality of Shakespeare
Author: Edward G. Harman
Publisher:
Total Pages:
Release: 1973-01-01
Genre:
ISBN: 9780827406322

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The author feels that literary criticism cannot ignore history & that historical research & writing cannot ignore literature, because literature often reflects historical events. On the basis of this duality, Mr. Harman has combined historical research with literary research to produce a valuable analysis of the Shakespearean era & of Shakespeare himself.


The Impersonal Aspect of Shakespeare's Art (Classic Reprint)

The Impersonal Aspect of Shakespeare's Art (Classic Reprint)
Author: Sidney Lee
Publisher: Forgotten Books
Total Pages: 32
Release: 2016-09-05
Genre: Literary Collections
ISBN: 9781333483197

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Excerpt from The Impersonal Aspect of Shakespeare's Art I confine my present inquiry to the plays alone, and I ask, Does Shakespeare reveal himself to us there? I do not mean as Rousseau reveals himself in his Confessions, or as Johnson stands revealed in the pages of Boswell, but, say, as Cicero or Horace, as Burke or Shelley, lift the curtain on dominant predilections and prejudices in published words. Do Shakespeare's plays, like Cicero's or Burke's oratory, declare from time to time his precise likes or dislikes, his definite convictions and prejudices? Do we learn his private Opinions on religion, on politics, and the other matters which more or less occupy every thinking man's attention? From 'personality' I here exclude physical characteristics and biographical details. I am not concerned with the everyday virtues and repugnances which most men of repute share alike. My inquiry is directed to distinguishing idiosyncrasies, to individual characteristics, to peculiar experiences of mind or heart. At a first glance the theme may look simple enough. An author gives in the written page an expression of what is in him. He can have nothing else to give. Consequently all, it may be thought, one who seeks knowledge of an author's particular personality has to do, is to extract it from the verbal receptacle to which he committed it. But this is a superficial aspect of a highly complex question. There is a quibbling conundrum which asks, How can a thing be lost, when you know where it is and has for answer that the thing is at the bottom of the sea, or in the bottomless crevasse of a mountain. It may or may not be that the question I ask to-night may fairly provoke some such repartee. At any rate the speculation is difficult, and before we part with it, it imposes on us the obligation of glancing at the manner in which poetic genius works, and at the intellectual processes which are more especially involved in the creation of great drama. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.


The Impersonal Sublime

The Impersonal Sublime
Author: Suzanne Guerlac
Publisher: Stanford University Press
Total Pages: 284
Release: 1990
Genre: Literary Criticism
ISBN: 9780804717861

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The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth- and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugo's Quatre-vingt-treize and L'Homme qui rit, Baudelaire's Spleen de Paris and Petits poemes en prose, and Lautreamont's Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant.