By Sterling Professor of the Humanities Harold Bloom
Bloom's insurance levels shape the traditional Greeks to fashionable day and comprises writers like Aristophanes, Shakespeare, Moliere, Anton Chekhov, Tennessee Williams, and Arthur Miller. a long time 16+.
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Additional info for Dramatists And Drama (Bloom's Literary Criticism 20th Anniversary Collection)
Viola is benign and lovable, yet she is as much a zany as Orsino, whom she will marry or Olivia, who rarely gets anything straight. Twelfth Night, a sublime Feast of Fools, is a crowning an achievement as are King Lear and The Tempest, all summits of their mode. B20A(Drama) 3/15/05 6:20 PM Page 33 Dramatists and Dramas 33 The Taming of the Shrew The Taming of the Shrew, when acted, seems almost the simplest of performance pieces, a fine farce in an immemorial tradition of male supremacy. Well before the advent of feminist criticism of Shakespeare, Harold Goddard declined to accept such an interpretation: Richard III proves that double-entendre was a passion of the youthful Shakespeare, and both The Two Gentlemen of Verona and Love’s Labor’s Lost illustrate the fact that he was fond of under- and overmeanings he could not have expected his audience as a whole to get.
Gilbert’s England was not treading near disaster. In 415–414, Athens was, when Alcibiades and his Athenian fleet sailed off to the Sicilian catastrophe. Athens was a place of hysteria, political frenzy, McCarthyite witch-hunting, and balked aggressivity. Aristophanes therefore sends forth his two confidence men, the daemonic Pisthetairos (let us call him “Plausible,” which his name means) and his accomplice Euelpides (“Hopeful”) to the wilderness of the Birds. There they suborn Hoopoe, who helps persuade all the other Birds to join in the Plausible-Hopeful project of building a New City, Cloudcuckooland.
Tis thou hast damned distressed Faustus’ soul. Is’t not too late? 67–78) It is definitely too late, and I wonder at the exegetes who debate the supposedly relevant theologies—Catholic, Calvinist, Lutheran—and their presumed effect upon whether Faustus either will not or cannot repent. Marlowe is no more interested in letting Faustus escape than in giving the B20A(Drama) 3/15/05 6:20 PM Page 29 Dramatists and Dramas 29 wretched Edward II a good death. The play’s glory is in the last speech of Faustus, an extraordinary rhapsody whose sixty lines form one of the great dramatic poems in the language.
Dramatists And Drama (Bloom's Literary Criticism 20th Anniversary Collection) by Sterling Professor of the Humanities Harold Bloom