In only certain senses, then, does Shakespeare forever elude us and refuse to “abide our question,” for, if there are general problems confronting every writer, we should be able to ask questions that Shakespeare of all men made no attempt to elude.At a high level of universality, to write anything well, whether it be intellectual or imaginative, is to assume at least two obligations: to be .
In only certain senses, then, does Shakespeare forever elude us and refuse to “abide our question,” for, if there are general problems confronting every writer, we should be able to ask questions that Shakespeare of all men made no attempt to elude.At a high level of universality, to write anything well, whether it be intellectual or imaginative, is to assume at least two obligations: to be .Tags: Deductive Essay On TobaccoFriendship Essay ExamplesWrite Thesis Compare Contrast PapersSimple Business Plan ExamplesDepression EssaysSample Hypothesis In Research PaperGrammar For Essay WritingEssays On Moving From One Country To AnotherDescriptive Essay PromptsWritten Assignments In Nursing Education
Furthermore, since the madness of Lear is almost entirely Shakespeare’s invention , it brings us face to face with both the tragic art and the tragic artist.
Now, to speak of a consummate poetic accomplishment is to imply that the kind of criticism which views all a writer’s problems as unique has overlooked a part of the whole of truth.
In certain ultimate senses the world that is each poem is bound together so that it binds the hearts of those who look upon it, of whom the poet is one.
To look upon a poem, then, as distinct from looking upon much of the succession of life, is to be moved, and moved by emotions that, on the whole, attract us to it and are psychologically compatible.
He may wish, as many lyric poets have wished, to write a drama or a novel, but the story is so distinct from the lyric that few poets, despite a tendency of poets to be expansive in their ambitions, have been eminent in both poetic arts.
Shelley and Keats had a maximum of aspiration but hardly a minimum of gift for plot and character, and even Browning, with his surpassing delineation of men and women in dramatic monologue, could not make anything happen in a drama.but this story already has shape, although the shape of art in embryo.It is a narrative riddle, depending upon the double meaning of a word, and when the real meaning is recognized by the father, through some device such as serving him a feast without salt, both the anger of the father and the story dissolve.That the history of the Lear story concludes in a consummation of art is testified to by another kind of history—the history of men’s literary affections: tragedy, on the whole, has proved to be the most moving of literary forms, and to most critics , although not the most flawless, is the most tragic of Shakespeare’s tragedies.The problem of artistic consummation, being the problem of magnitude in the highest degree, is imperiled by its own scope, but fortunately there is a part of that by assent is its most tragic region, the region where suffering takes on such dimension that even Shakespeare could find no better word than “madness” to contain it.Particular manners of presentation are particular artistic problems, and particular artistic gifts are needed to solve these problems, and, if not, who are those who are both great novelists and great dramatists?And, more particular still, who among dramatists wrote both great comedies and great tragedies, although tragedy is only drama that moves certain emotions in us?—and the unexpected should not be immediately and totally announced (in other words, expository and imaginative writing should have suspense), for, if the whole is immediately known, why should the writer or reader proceed farther?But the accomplished writer gives his selected material more than shape—he gives it proper .On the other hand, the madness of Lear could have been drawn at such length that the spectator, like Kent, could not continue to view the suffering or, worse still, until the spectator began to suspect an author was manipulating suffering for suspense—and in either case the spectator would feel that he had seen too much.Moreover, the size of any literary particle is not a matter of quantity only.