However, the question is resolved in the end of the play when Prospero once again becomes a Duke, doing so through art. In this, Shakespeare shows that art is in fact useful. In the beginning, art is questioned, but in the end it proves to be Prospero’s most powerful saving grace, all the while ultimately bowing to nature. Shakespeare presents the influences of both nature and art throughout the play, ultimately with nature prevailing. The tempest he creates in the first act, the anchor that sets into motion the events of the play, is wholly dependent on nature's own capacities.
Bloom, however, takes Shakespeare and his characters out of dramatic con... ... middle of paper ... ...al world of Elizabethan England—essential to an understanding of Shakespeare’s history plays can easily be lost if we regard the characters as existing beyond their origins. We cannot neglect the social, intellectual, and historical context in which the histories derive their meaning. Bloom asserts that the plays’ characters transcend their origins and operate in a universe that is still being created. We can appreciate his thesis as it reverberates through our consciousness. Bloom has successfully helped us secure a new relationship with Shakespeare and his dramatic art.
“American Civilization Threatens to Destroy Huck.” Harvest of Change: American Literature 1865- 1914 (1967): Rpt. In Readings on The Adventures of Huckleberry Finn. Ed. Katie de Koster. San Diego: Greenhaven Press, 1994: 105- 110.
Poetics of the Holy: A Reading of Paradise Lost. Chapel Hill: University of North Carolina Press, 1981. Lovejoy, Arthur O. "Milton and the Paradox of the Fortunate Fall," ELH 4 (1937), 161-179. Mahood, M. M. "Milton's Heroes," in Alan Rudrum, ed., Milton: Modern Judgements, London: Macmillan, 1968, 262-63.
Thomas More’s Utopia was one of the first novels to be written that introduced the concept of a perfect society to the world. This idea is utilised through the fictional manipulation of the text which successfully conveys the personal humanistic and egalitarian views which More holds. This is clearly identified through the novel by focussing on the diverse forms of meaning and understanding the complexity of the text. This idea is employed through the analysis of England at that time and the travel journal of a flawless civilisation. Through the thorough analysis of these two ideas, the novel’s fictitious setting and the relationship it has with the two books is expounded.
Wolf, A. A History of Science, Technology and Philosophy in the 16th and 17th Centuries. Vol. 2. New York: Harper, 1959.
Georgia Review 26 (1972) 145-55. Cohen, Walter. "Shakespeare and Calderon in an Age of Transition." Genre 15 (1983), 123-37. Davidson, Frank.
William Shakespeare, in his comedy A Midsummer Night’s Dream, takes the idea of pristine, pure, and rebellious romance and turns it on its head. Shakespeare uses irony to characterize impulsive love not as a blessing, but as an irrational, destructive force that leads us away from a valuable, constructive life. Irony serves as Shakespeare’s weapon of choice in dismantling our idea of love as strong and noble. Irony in itself, however, is so nuanced and complex that it requires further explanation. Richard M. Eastman provides that explanation in his book Style, which illuminates the basic structure and function of irony and other stylistic elements found in literary works.
The idea of England as a second paradise in a postlapsarian world was a popular thought in Shakespeare's day. Not only did Englanders compare their land the to Biblical Eden, but also to Classical legends that would have flourished in the Renaissance era. The fact that Britain is an island isolated from the rest of the world invited the comparison of England to mythical islands such as the Islands of the Blest and Homer's Ogygia (Mackenzie 319). Such comparisons surely originated in the strong patriotism that thrived in the Elizabethan era. Shakespeare capitalized on this feeling through his history plays, which both instructed his audience on England's past and fed the patriotic ego of her citizens (Reese 46).
Shakespeare had before him in Saxo and Belleforest what was presented as an ideal type. This type Shakespeare transformed. To what may be called the instinctive wisdom of antiquity and her heroic passions, represented so impressively by Hamlet's father, Shakespeare has united the meditative wisdom of later ages in Hamlet himself. There is no surrender of the old pieties, and the idea of the drama comes from the impact of new circum1stances upon the old forms of feeling and estimation; there is a conflict between new exigencies and old pieties, that have somehow to be reconciled. The play dramatizes the perpetual struggle to which all civilization that is genuine is doomed.