By Caroline Frances Eleanor Spurgeon
ISBN-10: 0521092582
ISBN-13: 9780521092586
Caroline Spurgeon's pioneer examine of the imagery of Shakespeare's performs indicates how a lot gentle will be thrown on Shakespeare's personal brain and proposal and at the issues and characters of the performs via an in depth exam of his imagery. even as she contrasts Shakespeare with different dramatists of his time, together with Marlowe, Bacon, Ben Jonson and Dekker.
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Extra info for Shakespeare's Imagery and What it Tells Us
Sample text
Now in the net*. The Honest As regards games, which are included in this group, °re>"'5* it is characteristic that Dekker has nearly twice as many images from games as anybody else, including five from bowls, all showing a definite knowledge of the game. Shakespeare happens to have two images only from games in these five plays, although we know from his total number of game images that he also was well acquainted with bowls (see pp. 110-11). Shakespeare's next largest number of images in this little section is drawn from * classes '.
AndC. 4- 14-35 Mac. 3. 47 Son. xc Duncan is in his grave; Mac. 3. 2. 22 After life's fitful fever he sleeps well; Cym. 5. andC. Peace, peace! 5. 308 Dost thou not see my baby at my breast, That sucks the nurse asleep ? and he soars into the empyrean, not directly in one swift dart as does Marlowe, with a cold and lunar radiance, but indirectly and through the dusty ways of life, warmed and enriched by human experience, steeped in the homely atmosphere of this green earth. Thus, by examining their imagery alone, we can see how entirely different were these two men, in mind, temperament and outlook.
Uy u. 769, young dandy. To return to Shakespeare's images in this 'daily life' group—his images from 'trades and building' come next in number to 'sport' and 'classes', and of these the greatest number is drawn from carpentry (pp. 126—7), and after that from building, simple images of construction and foundation. Next come his war images, and in this selection of them I find nothing which indicates any direct knowledge of war or of fighting. They mostly belong to the usual common stock of Elizabethan war images, the explosion of powder and fire, the shot of cannon, the recoil of a gun, the cut of a sword or a dagger, the action of 'bruising irons', stabs and darts, a siege, an encampment, a barricade, a flag.