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 58
... speaking , or frequent speaking , or both - usually both . Frequent speaking usually implies contact with many other char- acters ; and long speaking sometimes does , since if the long speech is an oration a number of other characters ...
... speaking , or frequent speaking , or both - usually both . Frequent speaking usually implies contact with many other char- acters ; and long speaking sometimes does , since if the long speech is an oration a number of other characters ...
Page 78
... speak of an infinite variety here , or even of thirty- two fundamentally different components . First of all , it may be noted that the five women have some like- ness to one another . They are charming , flawless , noble ; and in the ...
... speak of an infinite variety here , or even of thirty- two fundamentally different components . First of all , it may be noted that the five women have some like- ness to one another . They are charming , flawless , noble ; and in the ...
Page 190
... speak in a voice truly human , while some of his fellows and immediate predecessors seem to be speak- ing through a mask , frozen in a rigid posture , fixed like the stiff conventional figures of a medieval woodcut . He seems less time ...
... speak in a voice truly human , while some of his fellows and immediate predecessors seem to be speak- ing through a mask , frozen in a rigid posture , fixed like the stiff conventional figures of a medieval woodcut . He seems less time ...
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