Lear's Self-discoveryUniversity of California Press, 1967 - 154 pages I am attempting a rather full, and I hope fresh, study of Lear's self-discovery, its intellectual meaning, and its dramatic expression. I shall try to show, in small part, what self-knowledge meant to Shakespeare's contemporaries and, most important, how he struck out on his own, and with insights well beyond his time, to create perhaps the greatest drama of self-discovery in all literature. - Introduction. |
Contents
Some Renaissance Contexts | 12 |
The Emergence of Lear as Thinker | 44 |
Other Characters on the Rack | 83 |
Copyright | |
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affliction Angelo argue aware beginning Boaistuau body Brutus chapter character Charron Christian comes Cordelia corrupt course critics depiction disguise doth dramatic earlier Edgar Edmund father feel flesh foil to Lear Fool Fool's Gloucester Gloucester's Goneril and Regan Hamlet hath Hugh Latimer human Huntington Library Iago identity important insight intelligence interpretation John Davies Kent kind King Lear Knight knowledge later Lear as thinker Lear learns Lear's mind Lear's self-discovery least madness mainly man's means merely moral Myles Coverdale nature never nosce teipsum Othello passions perhaps philosopher play question reason recognition recognize Renaissance Renaissance treatises Richard Richard II ritualistic scene seems seen self-knowledge self-pity sense sexual Shake Shakespeare Quarterly significant Sir John Davies soliloquy speech stage storm tell Theodore Spencer things thinking Thomas Becon thought tion Titus Titus Andronicus tough world tragedy true truth unaccommodated unkind daughters wisdom woman writes