Shakespeare: Invention of the Human: The Invention of the Human"The indispensable critic on the indispensable writer." -Geoffrey O'Brien, New York Review of Books A landmark achievement as expansive, erudite, and passionate as its renowned author, this book is the culmination of a lifetime of reading, writing about, and teaching Shakespeare. |
From inside the book
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Page 182
... Shylock , whose revenge focuses so narrowly upon Antonio . Shakespeare works assiduously to exclude any Marlovian element from Shylock , but that inevitably entails a journey to the Shylockian interior . Barabas is free of all ...
... Shylock , whose revenge focuses so narrowly upon Antonio . Shakespeare works assiduously to exclude any Marlovian element from Shylock , but that inevitably entails a journey to the Shylockian interior . Barabas is free of all ...
Page 183
... Shylock ? Nothing after all sounds odder than to call Shylock a comic villain , like the zestful Barabas , even though The Merchant of Venice , however shaded , is still a comedy , and the Jewish moneylender is certainly its villain ...
... Shylock ? Nothing after all sounds odder than to call Shylock a comic villain , like the zestful Barabas , even though The Merchant of Venice , however shaded , is still a comedy , and the Jewish moneylender is certainly its villain ...
Page 190
... Shylock's , is murderous , and unlike Shylock's , it is successful , for Antonio does end Shylock the Jew , and gives us Shylock the New Christian . Freudian ambivalence is simulta- neous love and hatred directed toward the same person ...
... Shylock's , is murderous , and unlike Shylock's , it is successful , for Antonio does end Shylock the Jew , and gives us Shylock the New Christian . Freudian ambivalence is simulta- neous love and hatred directed toward the same person ...
Contents
Shakespeares Universalism | 1 |
The Comedy of Errors | 21 |
The Taming of the Shrew | 28 |
Copyright | |
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Shakespeare: Invention of the Human: The Invention of the Human Harold Bloom No preview available - 1999 |
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ambivalence Antony and Cleopatra audience authentic Barabas Barnardine Bastard become Ben Jonson Berowne Brutus Caesar Caliban character Christian comedy comic consciousness Cordelia Coriolanus critics Cymbeline death Desdemona doth drama Dream Duke Edgar Edmund eyes Falstaff and Hamlet father Faulconbridge final Fool genius give Goneril Hal's hath heart Henry human imagination Imogen invention irony Jonson Juliet King Lear Lady lago lago's Lear's Leontes lord Love's Labour's Lost lovers Macbeth madness Malvolio Marlowe Marlowe's Measure for Measure Mercutio moral murder nature never Noble Kinsmen Olivia Othello outrageous parody passion perhaps Pericles personality play's poet Posthumus pragmatically Prince Prospero Richard Richard III role Roman Romeo Rosalind scene seems sense sexual Shake Shakespeare Shylock Sir John Sonnets speak speare speare's spirit stage sublime Tempest thee Thersites Theseus thou Timon Titus Andronicus tragedy transcends Troilus and Cressida Twelfth Night Ur-Hamlet Venice villain