Richard III (HarperPerennial Classics) by William Shakespeare

By William Shakespeare

An account of the brutal and bloody upward thrust of King Richard III to the throne, Shakespeare’s play depicts the short-lived monarch’s ruthless crusade for strength, which led to the deaths of 2 of his brothers. Disfigured, hunchbacked, and vicious, King Richard’s unpopularity with the the Aristocracy crippled his reign, leading to his final demise.

Known as “The Bard of Avon,” William Shakespeare is arguably the best English-language author recognized. greatly renowned in the course of his existence, Shakespeare’s works proceed to resonate greater than 3 centuries after his dying, as has his impression on theatre and literature. Shakespeare’s leading edge use of personality, language, and experimentation with romance as tragedy served as a origin for later playwrights and dramatists, and a few of his most renowned traces of discussion became a part of daily speech.

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Extra resources for Richard III (HarperPerennial Classics)

Sample text

With apparent disdain for romanticism, in ‘Hamlet and His Problems’ Eliot conceives of a technique that serves as the foundation for his poetics of impersonality – the objective correlative. As he explains, ‘the only way of expressing emotion in the form of art is by finding an objective correlative; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked’ (789).

When studying the poem or fiction, the archetypal critic, like the formalist, assumes that the art object represents a special space, one that is more or less selfcontained, and in some fashion outside the strictures of history or personage. But Frye differs from some formalists in his understanding of literature as permanent and universal, applicable to and connected with human life throughout time. ‘The true father or shaping spirit of the poem is the form of the poem itself,’ Frye explains in Anatomy of Criticism (1957), ‘and this form is a manifestation of the universal spirit of poetry, the “onlie begetter” of Shakespeare’s sonnets who was not Shakespeare himself’ (98).

Eliot’s tradition is exclusive and hierarchical and does not account for the many other cultural forces that might make a popular novel or rock lyric or situation comedy as important in the creation of a given text as Dante’s Inferno. Aren’t all of the forces the artist experiences important in the culminating art object? Eliot responds with a resounding ‘no’ and asserts that if we approach a poet with his idea of tradition in mind, ‘we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously’ (784).

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