By Frank Kermode
The genuine biography of Shakespeare - and the one one we actually have to care approximately - is within the performs. Sir Frank Kermode, Britain's such a lot exceptional literary critic, has been pondering all of them his lifestyles. This e-book is a distillation of that lifetime's pondering. the good English tragedies have been all written within the first decade of the 17th century. they can be in language that's tricky to us, and should have been not easy even for contemporaries. How and why did Shakespeare's language enhance because it did? Kermode argues that the assets of English underwent significant swap round 1600. The originality of Kermodes's writing, and the intelligence of his dialogue, make this e-book a landmark.
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Additional resources for Shakespeare's Language
Combining these observations suggests the importance of denial, in the clinical sense of the term, as an element of Macbeth’s character, while at the same time raising the question of its sources. Exploring the cultural contexts that enable this denial, along with some of its more prominent manifestations in Macbeth’s behavior, will lead ultimately to an argument that in this play Shakespeare dramatizes an even more radical form of midlife resistance to generativity than the one presented in King Lear.
154–55, 202). 21 Equally to the point is the fact that this self-characterization stands in sharp contrast to Lear’s self-representations everywhere else in the play, including the scenes surrounding the reunion scene. 90, 186–87). 279, 281). Viewed in this light, Lear’s self-characterization in the reunion Lear’s Age 29 scene, however authentic as a newfound access to humility, can also be seen as strategic. Bereft of his foolish former assumption that his older daughters, themselves unloved, will nonetheless love and care for him as he wishes, he awakens to the uncertain prospect of a reunion with his rejected younger daughter.
But he awakens also uncertain of where he is and in the company of a daughter he has not seen since he banished her and who he has no reason to suppose will behave any differently toward him now than before. He awakens as 28 Shakespeare, Midlife, and Generativity well to a recurrence of the fear that he will lose (now has lost), through marriage, the “all” of Cordelia’s love. 67, 79)—am I, that is, in the place where the love I wished to retain for myself is now claimed by another. 65), his seemingly inconsequent mention of “this man”—in fact either the Gentleman or the Doctor—gains significance if we assume that he may be imagining, and fearing, that Cordelia’s companion is France himself, her husband.
Shakespeare's Language by Frank Kermode