T�tulo: The Dramatic Unities of Shakespeare, 1849 In a Letter Addressed to the Editor of Blackwood's Edinburgh Magazine Classic Reprint
Editor: Forgotten Books
Fecha de publicaci�n: 2019
Idioma: Ingl�s
ISBN 10: 1330746589
ISBN 13: 9781330746585
Encuadernaci�n: PAP
Estado: New
Peso: 145 gramos

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Sinopsis

Explore how Shakespeare’s plays bend time on stage—and why that illusion matters to understanding the drama.

This scholarly work presents a system for analyzing the dramatic unities and the artificial sense of time in Shakespeare’s plays. It argues that dramatic time is a constructed illusion, not a direct mirror of real hours, and that the poet’s craft preserves a continuous, watchable progression for the audience. The analysis centers on The Merchant of Venice, showing how timing, delays, and pacing shape action and meaning.

- Learn the idea that stage time is designed to keep spectators engaged, not to reproduce calendar time.
- See how a single night can carry the action across multiple scenes and characters.
- Understand how contemporaries and editors weighed these laws and their implications for authorship and authenticity.
- Access historical notes and correspondence that illuminate the development and reception of the time-analysis theory.

Ideal for readers of Shakespearean criticism, stage history, and the long tradition of examining how time and illusion work in drama.

Rese�a del editor

Excerpt from The Dramatic Unities of Shakespeare, 1849: In a Letter Addressed to the Editor of Blackwood's Edinburgh Magazine

I do not conceive it to have been the poet's desire to impress the spectator or the reader of his works with a rigid belief in the extremes of either series of his dates; to insinuate that the accelerating gave the only true, or the protractive the altogether false idea of the time of his action. On the contrary, I maintain that, by means of this double series of dates, - of his two clocks (according to the happy illustration of Chris topher N orth), - he meant to produce an illusory effect on the mind (such as people actually experience in the theatre), disabling it from ascertaining the genuine du ration of the action, and only permitting it to form, out of the elements of both series, such a dim, hazy, and indistinct conception as may, nay must, arise from the involution of measures of time so artfully intermingled.

The obvious intent Of this illusory process is to lead the imagination to conceive, that within the compass of a narrow but uninterrupted watch, it may have wit nessed an entire transaction, more or less extended, from beginning to end - the present and the past, through out all the intermediate gradations ofold Father Time with his pentarchy of tenses in some such way as the observer beholds in 'a painted landscape the whole Space enclosed within the visible horizon, with all its hills and valleys, woods and rivers, from the foreground close at hand, to the dim spire or the shadowy mountain, distant many, many miles, although every point of the plane, upright surface before us is equally distant from the observer's eye.

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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