By Pauline Kiernan
Why did Shakespeare write drama? Did he have particular purposes for his collection of this artwork shape? Did he have essentially outlined aesthetic goals in what he sought after drama to do--and why? Kiernan opens a brand new zone of dialogue in exhibiting that Shakespeare rejected the various theories of his age on poetry, historical past and artwork to create an unique conception of drama. This full of life, readable, yet scholarly exam of works from varied phases of the dramatist's profession explores what Shakespeare sought after his drama to do and why.
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Example text
Page 40 But for his theft in pride of all his growth A vengeful canker ate him up to death. More flowers I noted, yet I none could see But sweet or colour it had stol'n from thee. > Page 41 problematic relations to individual identity. In Ovid's story of Narcissus and Echo, Narcissus ‘spem sine corpore amat, corpus putat esse, quod umbra est’ (falls in love with that which is ‘imaginis umbra . . nil habet ista sui’). He falls in love with a bodiless hope, thinking that shadow is a body, with that which is but the shadow of a reflected form and has no substance of its own.
Page 21 CHAPTER 3 Shakespeare and Ovid. ‘What strainèd touches rhetoric can lend’: poetry metamorphosed in ‘Venus and Adonis’ and the Sonnets SEMINAL PURITY VERSUS RHETORICAL PROMISCUITY Shakespeare's careful insistence that Venus and Adonis is ‘the first heir of my invention’ has been frequently explained away as the play-wright's attempt to dismiss the worth of his dramatic achievements to date, fearful of offending the poem's dedicatee by a reference to his vulgar craft. 2 There has, however, been a tendency for critics to suppose that financial considerations were primary determinants in the choice of form and subject and this has, perhaps, helped to prevent us from exploring fully their precise sig-nificances as a dramatist's responses to Renaissance concerns with literary imitation and rhetorical history.
The symbol of the sun-god's power, the ‘false comparison’ on which Phaethon had sought to establish his identity, is torn apart and lies scattered far and wide in fragments. Phaethon's body is set on fire and is hurled through the air far from his native land. His mother wanders over the earth, seeking first his lifeless limbs, then his bones. She finds them buried on a river-bank on the far side of the globe. His sisters in their grief are turned into weeping trees, their tears hardening into amber by the sun which are borne by the river, one day to be worn by the brides of Rome (II.