The Personality of Shakespeare: A Venture in Psychological MethodFirst of all, as the title indicates, I am concerned with exploring a method. This method derives from the theory of personality projection. It is quantitative in part, but its operation depends, as everything in science does, upon a human observer and assessor. With regard to the personality of Shakespeare, I should like to make it plain that I have not attempted to be comprehensive and final. I do not see how we can be comprehensive and final with regard to any personality. Here, in studying Shakespeare, I have been deliberately fragmentary, limiting myself to a mere handful of questions. In particular, I have not tried to analyze the plays as artistic wholes in their entire complexity, but have only traced out a few general characteristics and a few patterns, which I have called "themes," occurring in more than one play. My analysis has focused on the dramatis personae and their interrelations. - Preface. |
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Page 43
... Caliban the disrupting forces of the id - lust and venomous hate . But Caliban is as much an inhabitant of Shakespeare's conscious- ness as Prospero . What was unconscious in Shakespeare cannot have been directly represented in the ...
... Caliban the disrupting forces of the id - lust and venomous hate . But Caliban is as much an inhabitant of Shakespeare's conscious- ness as Prospero . What was unconscious in Shakespeare cannot have been directly represented in the ...
Page 136
... Caliban are hostile extremes . In the plays between A Midsummer Night's Dream and The Tempest nothing distinctly like Puck or Ariel is to be found ; but Falstaff has some of the lineaments of Bottom and Caliban . Take away his wit but ...
... Caliban are hostile extremes . In the plays between A Midsummer Night's Dream and The Tempest nothing distinctly like Puck or Ariel is to be found ; but Falstaff has some of the lineaments of Bottom and Caliban . Take away his wit but ...
Page 137
... Caliban series , and both his animality and his ancestor Bottom are recalled by dressing him up as " a Windsor stag ; and the fattest , I think , i ' the forest " for his rendezvous in the park with Mrs. Ford . More distinctly of the ...
... Caliban series , and both his animality and his ancestor Bottom are recalled by dressing him up as " a Windsor stag ; and the fattest , I think , i ' the forest " for his rendezvous in the park with Mrs. Ford . More distinctly of the ...
Contents
PREFACE | 1 |
On Some Questions of Theory and Method | 15 |
AWEW Alls Well That Ends Well | 42 |
Copyright | |
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action actors analysis Antipholus Antonio appear Ariel average behavior Benedick betrayal Caliban Camillo cent character weights Charlotte Brontë child Claudio Cloten comedy complex conscious Coriolanus count curve Cymbeline daughter death dramatic dream Duke emotional evidence example fact Falstaff father Freud Gentlemen of Verona Gloucester Hamlet Henry Henry IV Hermione Hero human husband Iachimo Iago imagination Imogen interpretation introjected Juliet kill kind King Lear Leontes literary lover weight Macbeth male Mamillius Marlowe ment Midsummer Night's Dream mother murder nature object Oedipus complex Othello perhaps Pericles plays Polixenes Polonius possible Posthumus present problem Prospero Proteus psychoanalytic psychological psychologists queen regard relations relationship Romeo sexual Shake Shakespeare Shakespeare's personality soul speak speare speare's Speech Lines story Stratford Table Tempest thee theme theory thou Timon tion top character top-ranking character traits Troilus Vincentio wife William Shakespeare Winter's Tale