Art and Illusion in The Winter's TaleManchester University Press, 1994 - 283 pages This work treats a single Shakespeare play from a number of perspectives. The author combines insights from contemporary psychology with art, social and stage histories to challenge the limits of current positivist critical theories. The book also has a central theme: how the dark side of art and illusion must be represented in order to establish the redemptive pattern which The Winter's Tale shares with Shakespeare's other late tragi-comedies. |
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Page 19
... things we couet to describe be not naturall or not veritable , than yet the same axeth more cunning to do it , because to faine a thing that neuer was nor is like to be , proceedeth of a greater wit and sharper inuention than to describe ...
... things we couet to describe be not naturall or not veritable , than yet the same axeth more cunning to do it , because to faine a thing that neuer was nor is like to be , proceedeth of a greater wit and sharper inuention than to describe ...
Page 118
... things dying ' in the storm , thanks to Perdita's infant presence another finds ' things new - born ' . So during the tem- pest in The Winter's Tale we find possibilities more hopeful , and a seacoast more fertile , than during the ...
... things dying ' in the storm , thanks to Perdita's infant presence another finds ' things new - born ' . So during the tem- pest in The Winter's Tale we find possibilities more hopeful , and a seacoast more fertile , than during the ...
Page 199
... thing is to see something which is not en- tirely of the temporal world , something not completely limited by the confines of time ' , and , ' a person can grow and contradict the law of time that rules that all things must decay ' . 30 ...
... thing is to see something which is not en- tirely of the temporal world , something not completely limited by the confines of time ' , and , ' a person can grow and contradict the law of time that rules that all things must decay ' . 30 ...
Contents
Aesthetic codes and Renaissance concepts | 10 |
Shakespeares portrait of the individual | 31 |
metamorphic | 55 |
Copyright | |
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accept according actual appears Aretino argued artistic audience Autolycus bear become believe called Camillo chapter character claim colour complex concerning connection consider course court courtiers critics death described desire discussed effect emotional England English especially evidence expressed feelings figure Flora Florizel flowers Giulio Giulio Romano gives Gombrich hand Hermione Hermione's historical holds human idea imagination important instance interest interpretation Italian Italy John kind King knowledge late later Leontes less living marriage meaning mind nature offers original painted particular Paulina's Perdita perhaps play play's Polixenes possible present psychological question reading references relation Renaissance represented role says scene seems seen sexual Shake Shakespeare's shows similar social soliloquy sort specific statue stone studies suggest symbolic theatrical theory tion tradition visual Winter's Tale witchcraft witches writers