Shakespeare and the Reason: A Study of the Tragedies and the Problem Plays'Mr Hawkes is a good critic, oriented towards history of ideas. He operates on the formula that Shakespeare was interested in the available distinctions between discursive and intuitive reason, and disliked a growing tendency for the first to be thought of as manly and the second effeminate. One sees how this action-contemplation polarity works, in Hamlet for instance, and Mr Hawkes thinks the kind of choices forced on tragic heroes can be better understood in terms of it.' Frank Kermode, New Statesman. In the seven plays on which the book concentrates, Terence Hawkes finds Shakespeare investigating the operation of two opposed forms of reason, and constructing dramatic metaphors such as the opposition between appearance and reality, or that between true 'manliness' and its false counterpart, which express to the full the tragic nature of the situation. |
From inside the book
Results 1-5 of 43
Page 3
... modes of human self-consciousness which in fact co-exist and inter-act 'conversationally' as parts of a whole greater than themselves. The notion of 'congruency' necessitates those of equality and interdependence and the designation of ...
... modes of human self-consciousness which in fact co-exist and inter-act 'conversationally' as parts of a whole greater than themselves. The notion of 'congruency' necessitates those of equality and interdependence and the designation of ...
Page 5
... mode of thinking about the world can speak to itself by means of art; it can use metaphor where we would require argument; it can watch a play where we would lOok for facts and figures. Because Shakespearean drama depends so heavily on ...
... mode of thinking about the world can speak to itself by means of art; it can use metaphor where we would require argument; it can watch a play where we would lOok for facts and figures. Because Shakespearean drama depends so heavily on ...
Page 6
... mode of our thinking is an 'explaining' one, then the danger arises that not only will the critic find himself talking about one culture in the language of another, but that by such 'explanation' of it, he will eventually explain it ...
... mode of our thinking is an 'explaining' one, then the danger arises that not only will the critic find himself talking about one culture in the language of another, but that by such 'explanation' of it, he will eventually explain it ...
Page 7
... mode of mental activity which is distinctively not rational (though it may be given a higher status than that of the ... modes of perception, one rational, one intuitive, has always provided a symmetrical configuration of human ...
... mode of mental activity which is distinctively not rational (though it may be given a higher status than that of the ... modes of perception, one rational, one intuitive, has always provided a symmetrical configuration of human ...
Page 8
... mode was 'rational' and another whose mode was of a higher 'intuitive' order was a very precise one amongst Shakespeare's contemporaries, and a brief glance at its history will perhaps enable us to understand the nature of the problem ...
... mode was 'rational' and another whose mode was of a higher 'intuitive' order was a very precise one amongst Shakespeare's contemporaries, and a brief glance at its history will perhaps enable us to understand the nature of the problem ...
Contents
1 | |
2 Hamlet | 39 |
3
The Problem Plays | 72 |
4
Othello | 100 |
5
Macbeth | 124 |
6 King Lear | 160 |
Conclusion | 194 |
Index | 203 |
Other editions - View all
Shakespeare and the Reason: A Study of the Tragedies and the Problem Plays Terence Hawkes Limited preview - 2004 |
Shakespeare and the Reason: A Study of the Tragedies and the Problem Plays Terence Hawkes Limited preview - 2013 |
Shakespeare and the Reason: A Study of the Tragedies and the Problem Plays Terence Hawkes No preview available - 2013 |
Common terms and phrases
acceptance action Alfred Harbage Angels appearance and reality Aquinas argument becomes Bertram Brabantio Claudius Claudius’s confined conflict Cordelia Court Cressida death deceived Desdemona devilish discursive divine dramatic Duncan’s Edgar Edmund Elizabethan equivocation evil express fact faculty final finally finds first Fool fulfil Ghost Gloucester God’s Goneril Goneril and Regan Hamlet heaven higher honour human Iago Iago’s idea involves Isabella kind King Lear L. C. Knights Lady Macbeth later Lear’s lies London madness man’s manliness means Measure for Measure mercy metaphor mind mind’s mode murder nature Neo-platonic Nevertheless non-rational notion opposed opposition Othello perhaps play’s plot Polonius problem plays prophecies rational reason and intuition reflect result reveals role says scientific seems sense Shakespeare significance Significantly situation sort soul speaks speech spiritual stage structure suggests things thinking thou tragedy tragic Troilus Troilus and Cressida truth values Wilson Knight Witches words