官方藏书 / British_Literature / William Shakespeare: A Critical Study

William Shakespeare: A Critical Study

Georg Brandes · British_Literature · 42 章

目录

II STRATFORD—PARENTAGE—BOYHOOD VII THE "HENRY VI." TRILOGY IX SHAKESPEARE'S CONCEPTION OF THE RELATIONS OF THE SEXES—HIS MARRIAGE VIEWED IN THIS LIGHT—LOVES LABOUR'S LOST—ITS MATTER AND STYLE—JOHN LYLY AND EUPHUISM—THE PERSONAL ELEMENT XI VENUS AND ADONIS: DESCRIPTIONS OF NATURE—THE RAPE OF LUCRECE: RELATION TO PAINTING XIII ROMEO AND JULIET—THE TWO QUARTOS—ITS ROMANESQUE STRUCTURE—THE USE OF OLD MOTIVES—THE CONCEPTION OF LOVE XV THE THEATRES—THEIR SITUATION AND ARRANGEMENTS—THE PLAYERS—THE POETS—POPULAR AUDIENCES—THE ARISTOCRATIC PUBLIC—SHAKESPEARE'S ARISTOCRATIC PRINCIPLES XVIII RICHARD III. PSYCHOLOGY AND MONOLOGUES—SHAKESPEARE'S POWER OF SELF-TRANSFORMATION—CONTEMPT FOR WOMEN—THE PRINCIPAL SCENES—THE CLASSIC TENDENCY OF THE TRAGEDY XX "THE TAMING OF THE SHREW" AND "THE MERCHANT OF VENICE"—SHAKESPEARE'S PREOCCUPATION WITH THOUGHTS OF PROPERTY AND GAIN—HIS GROWING PROSPERITY—HIS ADMISSION TO THE RANKS OF THE "GENTRY"—HIS PURCHASE OF HOUSES AND LAND—MONEY TRANSACTIONS AND LAWSUITS XXII "EDWARD III." AND "ARDEN OF FEVERSHAM"—SHAKESPEARE'S DICTION—THE FIRST PART OF "HENRY IV."—FIRST INTRODUCTION OF HIS OWN EXPERIENCES OF LIFE IN THE HISTORIC DRAMA—WHY THE SUBJECT APPEALED TO HIM—TAVERN LIFE—SHAKESPEARE'S CIRCLE—SIR JOHN FALSTAFF—FALSTAFF AND THE GRACIOSO OF THE SPANISH DRAMA—RABELAIS AND SHAKESPEARE—PANURGE AND FALSTAFF XXIV PRINCE HENRY—THE POINT OF DEPARTURE FOR SHAKESPEARE'S IMAGINATION—A TYPICAL ENGLISH NATIONAL HERO—THE FRESHNESS AND PERFECTION OF THE PLAY XXVII SHAKESPEARE'S MOST BRILLIANT PERIOD—THE FEMININE TYPES BELONGING TO IT—WITTY AND HIGHBORN YOUNG WOMEN—MUCH ADO ABOUT NOTHING—SLAVISH FAITHFULNESS TO HIS SOURCES—BENEDICK AND BEATRICE—SPIRITUAL DEVELOPMENT—THE LOW-COMEDY FIGURES XXIX CONSUMMATE SPIRITUAL HARMONY—TWELFTH NIGHT—JIBES AT PURITANISM—THE LANGUISHING CHARACTERS—VIOLA'S INSINUATING GRACE—FAREWELL TO MIRTH III ELIZABETH, ESSEX, AND BACON V THE DEDICATION OF THE SONNETS VII PLATONISM—SHAKESPEARE'S AND MICHAEL ANGELO'S SONNETS—THE TECHNIQUE OF THE SONNETS X BEN JONSON AND HIS ROMAN PLAYS XI HAMLET: ITS ANTECEDENTS IN FICTION, HISTORY, AND DRAMA XIV THE PSYCHOLOGY OF HAMLET XVIII HAMLET AS A CRITIC XXI ACCESSION OF JAMES AND ANNE—RALEIGH'S FATE— SHAKESPEARE'S COMPANY BECOME HIS MAJESTY'S SERVANTS—SCOTCH INFLUENCE.XXIII OTHELLO—THE CHARACTER AND SIGNIFICANCE OF IAGO XXV KING LEAR—THE FEELING UNDERLYING IT—THE CHRONICLE—SIDNEY'S ARCADIA AND THE OLD PLAY XXVIII THE DARK LADY AS A MODEL—THE FALL OF THE REPUBLIC A WORLD-CATASTROPHE VI ROCHESTER AND LADY ESSEX IX SHAKESPEARE AND CHAPMAN—SHAKESPEARE AND HOMER XI DEATH OF SHAKESPEARE'S MOTHER—CORIOLANUS—HATRED OF THE MASSES XIII TIMON OF ATHENS—HATRED OF MANKIND XV PERICLES—COLLABORATION WITH WILKINS AND ROWLEY—SHAKESPEARE AND CORNEILLE XVII SHAKESPEARE AND FLETCHER—THE TWO NOBLE KINSMEN AND HENRY VIII.XVIII CYMBELINE—THE THEME—THE POINT OF DEPARTURE—THE MORAL—THE IDYLL —IMOGEN—SHAKESPEARE AND GOETHE—SHAKESPEARE AND CALDERON XXI SOURCES OF THE TEMPEST XXIV STRATFORD-UPON-AVON THE END Chapter 34 Chapter 35 Chapter 36 Chapter 37 Chapter 38 Chapter 39 Chapter 40 Chapter 41 THE FULL PROJECT GUTENBERG™ LICENSE