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. |
From inside the book
Results 1-3 of 11
Page 126
... thou must needs yield , for thou knowest I can command and constrain . ' ' Truth sir , ' quoth she , ' but not to love ; for constrained love is force , not love : and know this , sir , mine honesty is such , as I had rather die than be ...
... thou must needs yield , for thou knowest I can command and constrain . ' ' Truth sir , ' quoth she , ' but not to love ; for constrained love is force , not love : and know this , sir , mine honesty is such , as I had rather die than be ...
Page 130
B. J. Sokol. O Proserpina , For the flowers now that , frighted , thou let'st fall From Dis's waggon ! ( 116-18 ) The destructive duress imaged here is a key to Perdita's own anxi- ety : as she'd said to Florizel ' th ' power of the king ...
B. J. Sokol. O Proserpina , For the flowers now that , frighted , thou let'st fall From Dis's waggon ! ( 116-18 ) The destructive duress imaged here is a key to Perdita's own anxi- ety : as she'd said to Florizel ' th ' power of the king ...
Page 178
... thou didst not understand / The mystique language of the eye nor hand'.49 48 Hermione is both statue and lover in a culture with a code of gestures for both , so the disposition of her hands when she plays the statue would seem to be ...
... thou didst not understand / The mystique language of the eye nor hand'.49 48 Hermione is both statue and lover in a culture with a code of gestures for both , so the disposition of her hands when she plays the statue would seem to be ...
Contents
Aesthetic codes and Renaissance concepts | 10 |
Shakespeares portrait of the individual | 31 |
metamorphic | 55 |
Copyright | |
4 other sections not shown
Other editions - View all
Common terms and phrases
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