...Edgar Schell Copyright © 1976 by Duke University Press 1976 SEEING THROUGH A GLASS DARKLY THE ACTION IMITATED BY THE SECUNDA PASTORUM By EDGARSCHELL It has been a long time since a...

...Wallace Jackson Copyright © 1965 by Duke University Press 1965 DRYDEN’S EMPEROR AND LILLO’S MERCHANT THE RELEVANT BASES OF ACTION By WALLACEJACKSON Though AlZ for Love no longer occupies our stage, it has become...

... British elocutionary debates and eighteenth-century poetic practices. Romantic Interactions: Social Being and the Turns of Literary Action . By Wolfson Susan J. . Baltimore, MD : Johns Hopkins University Press , 2010 . xiv + 381 pp. © 2012 by University of Washington 2012...

...James Hirsh A. Charles and Elaine S. Hallett. Cambridge: Cambridge University Press, 1991. xi + 230 pp. $39.50. Copyright © 1991 by Duke University Press 1991 JAMES HIRSH 105 Analyzing Shakespeare’s Action: Scene versus Sequence...

...By JAMES L. CALDERWOOD Copyright © 1978 by Duke University Press 1978 HAMLET THE NAME OF ACTION By JAMES L. CALDERWOOD Off the coast of Wales to the northwest of Caernarvonshire is the is- land of Anglesey...

... son of the murdered king is limited in his freedom to maneuver and whose quest for freedom is both fueled and stymied by the Ghost's command that he kill his uncle. Hamlet dramatizes the felt connections between external constraints on freedom of action and internal states that inhibit or foster such...

... Corneille's treatment of heroic action and its place in history, and the remainder becomes, in Corneille's work, something capable of redemption and new life. The argument is focused on three tragedies: Médée (1634), Sertorius (1662), and Tite et Bérénice (1670). © 2008 by University of Washington 2008...

... practical possibility where “realism” is the only mode of operation and action in history. Yet without a critique of the idea of the vitality of the state/profession and without actively seeking an ethical life on behalf of another praxis, history is constrained to participate in the violent narrative of...

... and present states of being in the dark. This nescient or ignorant epistemology has resonances with Roland Barthes’s writings on Zen as well as with Derek Parfit’s rejection of personal identity and, by extension, of self-interest as a catalyst for moral action. Thanks to Brian McGrath and...

... reconciliation of father and daughter, as, also tragically, does the final action between Gertrude and Hamlet when she wipes his forehead, fulfilling his promise that “when you are desirous to be blessed, / I’ll blessing beg of you.” The blessing of marriage between Hamlet and Ophelia exposes another abruption...

... for desire and action, sin indicates the subject’s splitting by the norms that organize it. Piers Plowman , which explores the medieval split subject through formal experimentation, repeatedly encounters the demands of political, ethical, economic, and spiritual life and repeatedly problematizes all...

... play. Instead of being the concomitant of action, the precipitator of action, or simply the final cutting off of action, it becomes the enveloping action of the play, the continued and repeated action which has meaning in itself. Such a death-dealing man is Tamburlaine, as Christopher...

...,” RES, XVII [1941], 166-83.) This idea is strongly implied by Sidney’s definition and by the im- mediately preceding assertion that the Cyropedia and Theagines and Cariclea are poems though in prose. But Sidney did not speak in this place of plot or action, and the omission, as...

... the action for what they are from the beginning. Chaucer first presents the principals in static portraits, then displays them in a preliminary action, and, finally, in the main action. The plan is somewhat more complicated than this would suggest, since two sets of portraits and two sets...

... novel is the thing it is: why, for instance, no frame of reference or formal exposition is anywhere expressed for him-why he must piece one to- gether for himself. For the form of this novel calls marked attention to itself: the balanced juxtapositions of past and present action; the at...

... angels and man largely transposes Scripture and other narratives based on Scripture,l follows a predetermined order of events,2 contains few incidents extraneous to canonical Scripture, shows little amplification or condensation of actions, and maintains a rela- tively small over-all scale in...

... Criseyde in order to show that her love for Troilus is not sudden and superficial, but gradual and sincere. Throughout Book 11, Chaucer mentions formal dating of the action only once, “on Mayes day the thrydde” (56), and he may have been deliberate in this design.2 If Chaucer had continued...

..., and in the drama that end is the imitation of an action, the representation of events organized by probability and necessity. Other poetic forms, such as the lyric, may appear to treat events, but “events in the sense in which we speak of events in a philosophical dialogue- they are only...

... towards the good which he proposes.6 Because this accession of grace is exhibited in free choice, it is most plainly seen in activity; it is “action, correspondence”e on the part of man which enables him to say “. . . that is Christ being nte and me being Christ.”7 Hopkins’ notes contain...