By Geoffrey H. Hartman, Patricia Parker
This demanding and vigorous quantity includes essays by means of Stephen Greenblatt, Elaine Showalter, Jonathan Goldberg, Stanley Cavell, Robert Weimann, Margaret Fergusson, Howard Felperin etc.
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Extra resources for Shakespeare and the Question of Theory
This blank is exactly the space from which the power of fiction and the fictions of power derive. A similar process may be charted in Ulysses’ representation in III. iii of calumniating Time to Achilles: Time hath, my lord, a wallet at his back Wherein he puts alms for oblivion, A great-siz’d monster of ingratitudes. Those scraps are good deeds past, which are devour’d As fast as they are made, forgot as soon As done. (III. iii. 145–50) Who is this personified Time? The context offers the notion of “oblivion” to ground the image, but it is unclear whether “Time” and “oblivion” are identical or differentiated.
Terence Hawkes (Harmondsworth, 1969), 277. 5. In “Six points of stage-craft in The Winter’s Tale” in Shakespeare Survey, 11, ed. Allardyce Nicoll (Cambridge, 1969), 33: “Who can fail to wonder whether the man so amicably addressing this expectant mother may not be the father of her child? For what other possible reason can Shakespeare have contrived the conversation so as to make him specify nine changes of the inconstant moon? ” 6. Reprinted, with modernized spelling, in Criticism: The Major Texts, ed.
Can we abide Shakespeare’s question? Does the critic have a “character” of his own, or is he simply a bundle of responses accommodated to a special institution or audience: university students and dons, or other drama buffs, or the general public? Unlike Eliot, say, or Tolstoy, Murry has no body of creative writing to back up the importance of his interpretive engagements. There is, nevertheless, a sense that the critic’s identity is formed by his selfless encounters with artists of Shakespeare’s stature.
Shakespeare and the Question of Theory by Geoffrey H. Hartman, Patricia Parker