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Ariel’s alchemical songs
Natalie Roulon

magic, has been correctly identified as the alchemical Mercurius. 8 Shakespeare's ‘airy spirit’ perfectly matches the description of Mercurius as ‘an aerial spirit or soul… present everywhere and at all times during the alchemical opus ’. 9 This ‘protean, elusive’ spirit is ‘ambivalent, both destructive and creative’; he is ‘the ultimate solvent’, ‘the grand master of the reiterated cycle of solve et coagula (dissolve and coagulate) which constitutes the alchemical

in Shakespeare and the supernatural
Sir Philip Sidney, the Arcadia and his step-dame, Elizabeth
Richard James Wood

instructive. As Sidney observes in his Defence of Poesy , the offspring of an author’s pen is not always received/read by the right parent/reader: his ‘arguments will by few be understood, and by fewer granted’. 2 Sidney appears to trust his sister as a surrogate parent for his work, but only when she is figured as male. Nevertheless, by substituting ( mutatis mutandis ) the queen for the countess in the role of right reader, it is possible to see the emergence, from beneath the layers of confused parental identity, of the author of the Arcadia who creatively retains a

in Sidney's Arcadia and the conflicts of virtue
Shakespeare’s Counter-Spenserian Authorship
Patrick Cheney

had to throw off Spenser in order to get on with his own creative mission’. 89 As we have seen, in 1611 he still confronts Spenser to pursue his creative mission, and he makes this confrontation a central feature of both his plays and his poems, from early to late. Thus, we may wish to resist a view of Shakespeare that depends on the binary opposition between the literary and the theatrical

in Shakespeare and Spenser
The ‘inward eie’
Anne Sweeney

heightened and focused imagination where the eye of reason is blind but ‘Where thought can see’, a state which encounters God outside the realms of ‘sence or reason’. 4 Southwell’s poetry, even the lightest, is built upon the new creative framework of the Exercises: this new emphasis on psychological self-awareness was part of what he imported into England that was entirely new. The established form

in Robert Southwell
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Ossian, Burns, and the shaping of Shakespeare
Robert Crawford

are vital to Burns’s often performative art. This bard at his best had the range, amplitude, depth and finesse of a completely remarkable creative artist constantly seeking ways of sounding a voice that bonded his deeply committed, zigzag, Humean self to the greater body of ‘ THE PEOPLE ’. 35 The genres that mattered most to Burns were popular ballad, song, and the inherited Standard Habbie stanza

in Shakespeare and Scotland
Shakespeare and Scott
Lidia Garbin

creative output. Some of the characters of the novel have seen his plays. Although anachronistic, Shakespeare’s presence was allowed in a tradition first suggested by Bishop Percy in ‘On the Origin of the English Stage’ (1794). 16 Shakespeare appears as the ghostly trace of a quotation from Macbeth .Leicester speaks ‘in the words of one, who at that moment stood at no great distance from him’. Soon after

in Shakespeare and Scotland
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The visual turn in Antony and Cleopatra
Richard Wilson

breathing bodies that he ‘carried him off’. 73 So it is piquant when in The Winter’s Tale we are told ‘he would beguile nature of her custom’ if only he had eternity, as ‘that rare Italian master’ [ 5,2,87 ] had in fact died in 1546. And it is in line with that ultimate creative defeat that in Antony and Cleopatra Shakespeare’s intervention in the paragone

in Free Will
A methodological induction
Yves Peyré

’, becomes an example, in Shakespeare, ‘where we see / The fancy outwork nature’ (207–8) – a converging interest in the nature of representation that suggests that the paradox of ‘what they undid did’, beyond drawing together cooling and fuelling, becomes a fitting hallmark for the creative act of simultaneous unwriting and rewriting, or, more accurately perhaps, unweaving and interweaving

in Interweaving myths in Shakespeare and his contemporaries
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Victoria Coldham-Fussell

.1) and comparison of the well of life to thermal springs may be said to celebrate the dark glass through which we see. Christ’s triumph over sin allows us creatively to objectify evil in entertainingly inadequate fictions – an inadequacy that essentially says: ‘Compared with the mercy of God, all the evil that man can do or think in this world, is as a spark quenched in the ocean.’ 12 Conversely, our limited understanding generates anticipation of the unknown. Our worldly imaginations extend to the pleasures of a spa town; eternal life will render these pleasures

in Comic Spenser
Robert Lepage’s Coriolan
Robert Ormsby

simple way (Hodgdon, ‘ Macbeth ’ 161). Instead, the director put the fundamental goal of conventional mainstream Shakespearean acting – producing the effect of interiority – ‘into parentheses’, frequently by contrasting actors whose faces were visible with those whose were not. The action immediately preceding Coriolan’s and Aufidius’ single combat represents a particularly creative and extended staging

in Coriolanus