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The author analyzes six Greek tragedies -the Orestes trilogy, Ajax, Antigone, and Antigone; it also contains a chapter on Greek and Elizabethan tragedy, another on Religious drama and its interpretation and a final, extended, chapter on Hamlet.
To quote from the author's preface:
I have come to believe more firmly, and I hope to follow more consistently, as a principle of criticism, the idea that in a great work of art, whether a play, a picture, or a piece of music, the connexion between the form and the content is so vital that that the two may be said to be ultimately identical.
{...}
The presumption with Aeschylus, Sophocles and Shakespeare when he wrote Hamlet, is that the dramatist was competent. If the dramatist had something to say, and if he was a competent artist, the presumption is that he has said it, and that we, by looking at the form which he created, can find out what it is.
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The author analyzes six Greek tragedies -the Orestes trilogy, Ajax, Antigone, and Antigone; it also contains a chapter on Greek and Elizabethan tragedy, another on Religious drama and its interpretation and a final, extended, chapter on Hamlet.
To quote from the author's preface:
I have come to believe more firmly, and I hope to follow more consistently, as a principle of criticism, the idea that in a great work of art, whether a play, a picture, or a piece of music, the connexion between the form and the content is so vital that that the two may be said to be ultimately identical.
{...}
The presumption with Aeschylus, Sophocles and Shakespeare when he wrote Hamlet, is that the dramatist was competent. If the dramatist had something to say, and if he was a competent artist, the presumption is that he has said it, and that we, by looking at the form which he created, can find out what it is.
Atsiliepimai