Origins[ edit ] The concept for the series originated in with Cedric Messinaa BBC producer who specialised in television productions of theatrical classics, while he was on location at Glamis Castle in AngusScotland, shooting an adaptation of J. By the time he had returned to London, however, his idea had grown considerably, and he now envisioned an entire series devoted exclusively to the dramatic work of Shakespeare; a series which would adapt all thirty-seven Shakespearean plays. He had anticipated that everyone in the BBC would be excited about the concept, but this did not prove so. Furthermore, they argued that Shakespeare on television rarely worked, and they were of the opinion that there was simply no need to do all thirty-seven plays, as many were obscure and would not find an audience amongst the general public, even in England.
The Shakesperean world is impressed, as a whole, with an unmistakable joy in healthy living. This tells habitually as a pervading spirit, a contagious temper, not as a creed put forward, or an example set up.
It is as clear in the presentment of Falstaff or lago, as of Horatio or Imogen. And nowhere is it clearer than in his handling of the relations between men and women. Criminal love, of any kind, holds a quite subordinate place in his art; and, on the other hand, if ideal figures are to be found there, it is among his devoted, passionate, but arch and joyous women.
It is thus possible to lay down a Shakesperean norm or ideal type of love-relations. It is most distinct in the mature Comedies, where he is shaping his image of life with serene freedom; but also in the Tragedies, where a Portia or a Desdemona innocently perishes in the web of death.
In the earlier Comedies it is approached through various stages of erratic or imperfect forms. The present study will follow the plan thus indicated.
The third traces the gradual approach to the norm in the early Comedies. The fourth and fifth sections, finally, discuss the treatment, in Comedy and Tragedy, of Love-types other than the norm. The Shakesperean norm of love, 1 thus understood, may be described somewhat as follows.
Love is a passion, kindling heart, brain, and senses alike in natural and happy proportions; ardent but not sensual, tender but not sentimental, pure but not ascetic, moral but not puritanic, joyous but not frivolous, mirthful and witty but not cynical.
His lovers look forward to marriage as a matter of course, and they neither anticipate its rights nor turn their affections elsewhere.
They commonly love at first sight and once for all. Love-relations which do not contemplate marriage occur rarely and in subordination to other dramatic purposes. Tragedy like that of Gretchen does not attract him. The course of love rarely runs smooth; but rival suitors proposed by parents are quietly resisted or merrily abused, never, even by the gentlest, accepted.
Crude young girls like Hermia, delicate-minded women like Desdemona and Imogen, the rapturous Juliet and the homely Anne Page, the discreet Silvia and the naive Miranda, are all at one on this point.
And they all carry the day. And with this security of possession his loving women combine a capacity for mirth and jest not usual in the dramatic representation of passion. Rosalind is more intimately Shakesperean than Juliet. Married life, as Shakespeare habitually represents it, is the counterpart, mutatis mutandis, of his representation of unmarried lovers.
His husbands and wives have less of youthful abandon; they rarely speak of love, and still more rarely with lyric ardour, or coruscations of poetic wit. But they are no less true.
The immense field of dramatic motives based upon infringements of marriage, so fertile in the hands of his successors, and in most other schools of drama, did not attract Shakespeare, and he touched it only occasionally and for particular purposes.
II The norm of love lent itself both to comic and to tragic situation, but only within somewhat narrow limits. The richness, depth and constancy of the passion precluded a whole world of comic effects.
It precluded the comedy of the coquette and the prude, of the affected gallant and the cynical roue, of the calf-lover and the doting husband; the comedy of the fantastic tricks played by love under the obsession of pride, self-interest, meticulous scruple, or superstition.
The normal love, not being itself ridiculous, could thus yield material for the comic spirit only through some fact or situation external to it.BibMe Free Bibliography & Citation Maker - MLA, APA, Chicago, Harvard.
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After immigrating to the United States with his family he attended school at Brigham Young University – Idaho where he earned a . Meanwhile, on their way to the king’s castle, Macbeth and Banquo happen upon the three witches, now reconvened in the heath, while thunder cracks and rumbles.
The Shakesperean norm of love, 1 thus understood, may be described somewhat as follows. Love is a passion, kindling heart, brain, and senses alike in natural and happy proportions; ardent but not sensual, tender but not sentimental, pure but not ascetic, moral but not puritanic, joyous but not frivolous, mirthful and witty but not cynical.
Metaphysics and Modern Science: Towards an Outline Metaphysical Unified Field Theory of Everything A Selective Survey of Spiritual Phenomena Introduction: A Physical Spirit? The extraordinary revelations of sub-atomic physics have forced modern science to come to terms with some extremely challenging facts.
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