Shakespeare’s Speculative Art by Maurice A. Hunt (auth.)

By Maurice A. Hunt (auth.)

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Sample text

Down! Thy crown does sear mine eyeballs. And thy hair, The other gold-bound-brow, is like the first. A third is like the former. Filthy hags, Why do you show me this? A fourth? Start eyes! What, will the line stretch out to th’crack of doom? Another yet? A seventh? I’ll see no more. And yet the eighth appears, who bears a glass Which shows me many more; and some I see That twofold balls and treble scepters carry. Horrible sight! Now I see ’tis true, For the blood-boltered Banquo smiles upon me And points at them for his.

32 Viewed from God’s perspective, the eternal emanation of light and love appears (because ref lected at a certain angle by a multitude of bright mirrors) to be shining from His creation to Himself—a vision that constitutes humankind’s homage to its creator. 33 Reconsideration of Ulysses’ speech suggests that for those playgoers and readers who want to know what kind of book Ulysses reads, a volume concerned with Neoplatonized Christianity will do. The notorious striking clock in Shakespeare’s Julius Caesar testifies to the playwright’s fondness for anachronistic jests in his Roman and Greek plays.

In his opinion, men and women can directly know the worth, or worthlessness, of others and themselves, without projecting and catching the image of wished-for virtues. Without the autonomous reality of human worth (that “wherein ‘tis precious of itself ”), and the lover’s perception of its autonomy, the admirer dotes, loves foolishly, simply because he or she is loving the mirrored image of the projected self. ” In a f leeting moment of lucidity, Hector argues against making women such as Helen and Cressida into figurative mirrors for the purpose of knowing romantic and social values.

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