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Though brief, less than 2,000 words in length, it has been called "De Quincey's finest single critical piece" and "one of the most penetrating critical footnotes in our literature". [5]: 131 [6] Commentators who are dismissive of De Quincey's literary criticism in general make an exception for his essay on Macbeth. [5]: 118, 131
The Well Wrought Urn is divided into eleven chapters, ten of which attempt close readings of celebrated English poems from verses in Shakespeare's Macbeth to Yeats's "Among School Children." The eleventh, famous chapter, entitled "The Heresy of Paraphrase," is a polemic against the use of paraphrase in describing and criticizing a poem.
Proposals for printing a new edition of the plays of William Shakespeare, with notes, critical and explanatory, in which the text will be corrected: the various readings remarked: the conjuectures of former editors examined, and their omissions supplied. By the author of the Miscellaneous Observations on the Tragedy of Macbeth. [12]
Macbeth was a favourite of the seventeenth-century diarist Samuel Pepys, who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ...
Sir John Frank Kermode, FBA (29 November 1919 – 17 August 2010 [1] [2] [3]) was a British literary critic best known for his 1967 work The Sense of an Ending: Studies in the Theory of Fiction and for his extensive book-reviewing and editing.
He explained that such critical method fails to capture the play as a poetic construct. He cited the case of Shakespeare's Macbeth, which he described as a construction of images and motifs that is similar to The Waste Land. [12] Cambridge criticism also paved the way for the emergence of the American formalist criticism or New Criticism. [13]
Kullervo, a tragic hero from the Karelian and Finnish Kalevala. The influence of the Aristotelian hero extends past classical Greek literary criticism.Greek theater had a direct and profound influence on Roman theater and formed the basis of Western theater, with other tragic heroes including Macbeth in William Shakespeare's The Tragedy of Macbeth, and Othello in his Othello. [4]
The term was coined by the American painter and poet Washington Allston (1779-1843), and was introduced by T.S. Eliot, rather casually, into his essay "Hamlet and His Problems" (1919); its subsequent vogue in literary criticism, Eliot said, astonished him.