So in A Full Moon in March the Queen , whose chaste beauty ( as in the Renaissance philosophy of love ) " can make the loutish wise , ” is like a savage goddess who must be placated by human sacrifice to ensure the fertility of the ...
Author: John Rees Moore
Publisher: Ithaca [N.Y.] : Cornell University Press
Masks of Love and Death : Yeats as Dramatist ( Ithaca : Cornell University Press , 1971 ) , p . 85. It is one of the oddities of theatrical history that Yeats's plays , influenced as they were in part by his imperfect knowledge of the ...
115 Relatedly, in a chapter entitled “The Love-Death” in The Masks of God: Creative Mythology, Joseph Campbell also utilizes opera in his examination of the “romantic . . . cult of amor.”116 Campbell defines amor as “Love's meeting of ...
Author: Angela M. Sells
Publisher: SUNY Press
Explores the life and work of psychoanalyst Sabina Spielrein through a feminist and mytho-poetic lens. Long stigmatized as Carl Jung’s hysterical mistress, Sabina Spielrein (1885–1942) was in fact a key figure in the history of psychoanalytic thought. Born into a Russian Jewish family, she was institutionalized at nineteen in Zurich and became Jung’s patient. Spielrein went on to earn a doctorate in psychiatry, practiced for over thirty years, and published numerous papers, until her untimely death in the Holocaust. She developed innovative theories of female sexuality, child development, mythic archetypes in the human unconscious, and the death instinct. In Sabina Spielrein, Angela M. Sells examines Spielrein’s life and work from a feminist and mytho-poetic perspective. Drawing on newly translated diaries, papers, and correspondence with Jung and Sigmund Freud, Sells challenges the suppression of Spielrein’s ideas and shows her to be a significant thinker in her own right. “This book is a major, perhaps a definitive, contribution to the literature. Angela Sells documents both the demonization of a great psychoanalytic theorist—mainly because she was a woman and worse still, was once Carl Jung’s patient. The book’s greatest strength is its power to enlighten and inform and in so doing, to arouse indignation and amazement at Spielrein’s brilliance and tenacity.” — Phyllis Chesler, author of Women and Madness “This is a pathbreaking piece of research that not only begins to rehabilitate the reputation of a woman patient of Jung’s, but also suggests that Spielrein was an important contributor in her own right to the beginnings of psychoanalysis.” — Carol P. Christ, coauthor of Goddess and God in the World: Conversations in Embodied Theology
Many associations cluster around the symbol of the kiss : Othello's death - kiss of Desdemona , “ Killing myself ... the proverbial “ kiss of death ” ; and the special association of love and death , so appropriate to this play of ...
Author: Mary Rosenberg
Publisher: University of Delaware Press
The Masks of Anthony and Cleopatra follows the pattern of Marvin Rosenberg's four earlier Masks books and offers a sensitive interpretation of the play based on extensive reading of both literary criticism and performance reviews. In the middle of this play of clashing values and great conflicting personalities, the unhappy Octavia - sister of the ambitious Octavius Caesar and newly married to the heroic Mark Anthony - sums up the ambiguity of her divided world in her heart-wrenching lament: Husband win, win brother, Prays and destroys the prayer; no midway 'Twixt these extremes at all. In his analysis, Marvin Rosenberg sets out to steer a path between the "extremes" of Rome and Egypt and all they stand for: and to explore the relentless "to and back" confrontation of their different sets of values which leads ultimately to destruction. What his study reveals is a world of endless oppositions and ambiguities. Reason (policy and expediency) is pitted against emotion (love and enduring relationship); the personal and private is balanced against the public and universal; the human is juxtaposed with the divine, the heroic set against the mundane and petty. Great complex characters oppose each other and are divided within themselves, both on the wide stage of the world and within their own personalities. The language is full of antithesis and oxymorons: and the most magnificent poetry is placed alongside the most simple and moving of expressions.
37-38 and 75-77 Jochum , K. P. S. , “ Yeats ' Last Play ” , Journal of English and Germanic Philology ( Apr. 1971 ) , 70 : 220-29 Moore , John Rees , Masks of Love and Death ; Yeats as Dramatist . 1971. p .
Ibid., 79-86; John Rees Moore, Masks of Love and Death (Ithaca: Cornell University Press, 1971), 108. He also refers to Cuchulain as a “thoroughly masculine hero” (129). 94. For this contrast, see Lowe, “Contagious Violence,” 8 5-86.
Author: Joseph Valente
Publisher: University of Illinois Press
Category: Literary Criticism
This study aims to supply the first contextually precise account of the male gender anxieties and ambivalences haunting the culture of Irish nationalism in the period between the Act of Union and the founding of the Irish Free State. To this end, Joseph Valente focuses upon the Victorian ethos of manliness or manhood, the specific moral and political logic of which proved crucial to both the translation of British rule into British hegemony and the expression of Irish rebellion as Irish psychomachia. The influential operation of this ideological construct is traced through a wide variety of contexts, including the career of Ireland's dominant Parliamentary leader, Charles Stewart Parnell; the institutions of Irish Revivalism--cultural, educational, journalistic, and literary; the writings of both canonical authors (Yeats, Synge, Gregory, and Joyce) and subcanonical authors (James Stephens, Patrick Pearse, Lennox Robinson); and major political movements of the time, including suffragism, Sinn Fein, Na Fianna E Éireann, and the Volunteers. The construct of manliness remains very much alive today, underpinning the neo-imperialist marriage of ruthless aggression and the sanctities of duty, honor, and sacrifice. Mapping its earlier colonial and postcolonial formations can help us to understand its continuing geopolitical appeal and danger.
79 At the end , with only the prospect of a death mask to replace the masks of life through which the great poetry had been uttered , Keats , defenceless , still bore witness to the terrible , and ambivalent , power of his love : ' The ...
Author: Thomas McFarland
Publisher: Oxford University Press on Demand
Category: Literary Criticism
This book surveys the poetic endeavour of John Keats and urges that his true poetry is uniquely constituted by being uttered through three artificial masks, rather than through the natural voice of his quotidian self. The first mask is formed by the attitudes and reality that ensue from a conscious commitment to the identity of poet as such. The second, called here the Mask of Camelot, takes shape from Keats's acceptance and compelling use of the vogue for medievalimaginings that was sweeping across Europe in his time. The third, the Mask of Hellas, eventuated from Keats's enthusiastic immersion in the rising tide of Romantic Hellenism. Keats's great achievement, the book argues, can only be ascertained by means of a resuscitation of the defunct criticalcategory of 'genius', as that informs his use of the masks. To validate this category, the volume is concerned throughout with the necessity of discriminating the truly poetic from the meretricious in Keats's endeavour. The Masks of Keats thus constitutes a criticism of and a rebuke to the deconstructive approach, which must treat all texts as equal and must entirely forego the conception of quality.
This affirmation , over the course of the poem's semantic development , of the predominance of music over love , death , and even the goatherd's activity is underscored by the intertwining of the principal narrative voices at the end of ...
Author: Claude Calame
Publisher: Cornell University Press
Exploring a variety of literary texts representing different poetic genres, Claude Calame, an internationally known classicist, draws the lineaments of a real history of the means used by ancient Greek poets to create in their works a fictional authorship. In this collection of essays, he shows that they made of their poems, through various discursive strategies, texts to be performed, with the collective, ritual, and pragmatic values implicit in the ideas of craft and performance. How is it possible to distinguish between the external context and reception of a discursive work and the elaborate poetic effects produced in the text itself by means of language? Clearly, the partly fictional figure of the author constructed by the text is not the same as the biographical author. In ancient Greece, moreover, the person of the composer of a poem was often distinct from the person of its performer.Important examples in Masks of Authority include some of the Homeric Hymns, didactic poetry by Hesiod, a bucolic poem of Theocritus, performed poetry by Sappho and mimetic poems by Callimachus, Attic tragedy and comedy in masked performances (Sophocles and Aristophanes), an iconographic inscription, an authoritative scientific discourse by Hippocrates, and an initiatory commentary to an Orphic theogony. The result is a selective history of Greek poetics from the perspective of its authorial devices and social functions, its place between oral and written traditions.
Richard Ellmann , Yeats , The Man and the Masks ( New York : W. W. Norton & Company , 1979 ) , p . 166 . 35. ... Ellmann , Man and Masks , p . 289 . 37. ... John Rees Moore , Masks of Love and Death ( Ithaca , N.Y .
Author: Gordon S. Armstrong
Publisher: Bucknell University Press
Category: Literary Criticism
In contrast to the many critics who consider W. B. Yeats a dominant influence on Beckett's drama, this study demonstrates that the two are almost diametrically opposed in their theater and that the real bridge to Beckett's art is to be found in the narrative and pictorial creations of the younger Yeats brother, Jack.
... female pillars of society " preserving the mortal community from " dark forces which , if allowed to gain the upper hand , will surely tear the community apart " ( Moore , Masks of Love and Death 114 ) .
Author: Susan Cannon Harris
Publisher: Indiana University Press
Category: Literary Criticism
Gender and Modern Irish Drama argues that the representations of sacrificial violence central to the work of the Abbey playwrights are intimately linked with constructions of gender and sexuality. Susan Cannon Harris goes beyond an examination of the relationship between Irish national drama and Irish nationalist politics to the larger question of the way national identity and gender identity are constructed through each other. Radically redefining the context in which the Abbey plays were performed, Harris documents the material and discursive forces that produced Irish conceptions of gender. She looks at cultural constructions of the human body and their influence on nationalist rhetoric, linking the production and reception of the plays to conversations about public health, popular culture, economic policy, and racial identity that were taking place inside and outside the nationalist community. The book is both a crucial intervention in Irish studies and an important contribution to the ongoing feminist project of theorizing the production of gender and the body.
Few there are who see the City and do not die, because most do not even consider the City until they near death. But you hesitate – you see them shrouded in death and you fear in your heart. You fear death.”. 69. “But I love life!
pain and exquisite exaltation of love into voice and action that had never been there before . ... she saw how , like the sun when he sinks , vanquished , into the transfigured clouds of his setting , love can gild its own death .
His message crystallizes Deirdre's need to choose between death with her lover and life with his murderer, between Dionysus and Apollo: the wisdom of ... accepting the necessity of death. ... And Moore, Masks of Love and Death, p.
Author: Barton R. Friedman
Publisher: Princeton University Press
Barton Freidman demonstrates that, as a cycle, the Cuchulain plays form a paradigm of Yeats's dramatic career. They trace his progress, the author contends, toward finding a genuine dramatic mode, and examination of this process reveals much about a playwright whose work is simultaneously great literature and extaordinarily effective theater. In his interpretation of the Cuchulain cycle the author concentrates upon dramatic method. He examines first the evolution of Yeats's dramatic aesthetic and his attempts to translate it into practice. He then treats each play of the cycle in order of composition, moving from On Baile's Strand, of which the first version was begun in 1901, to The Death of Cuchulain completed in 1939. Deirdre is included, since it demonstrably belongs to the cycle. Professor Freidman discusses not only the plays in their final form but, in crucial instances, Yeats's revisions of them, which frequently illuminate his dramatic designs. In the cases of The Green Helmet and The Only Jealous of Emer, he considers as well as their alternative versions, The Golden Helmet and Fighting the Waves. The analysis draws on Yeats's poetry and his theories of history, mythology, and art, and it shows that Yeats succeeds where his Romantic precursors had failed, in finding ways of staging "the deeps of the mind." Barton R. Friedman is Associate Professor of English at the University of Wisconsin. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
happens on his own particular half , the two of them are wondrously thrilled with affection and intimacy and love ... and that when they ] die [ they ] may also in Hades ... be one instead of two , having shared a single death .
Author: Daniel E. Anderson
Publisher: SUNY Press
The metaphysical center of Plato's work has traditionally been taken to be his Doctrine of Forms; the epistemological center, the Doctrine of Recollection. The Symposium has been viewed as one of the clearest explanations of the first and Meno as one of the clearest explanations of the other. The Masks of Dionysos challenges these traditional interpretations.
129 And that , in sum , is the love - death theme , as understood by Gottfried , as by all true lovers in the Gothic Middle Ages . Dante , we have seen , consigned Paolo and Francesca to Hell ; and for Gottfried too the meaning of the ...
Even after his brothers had deceitfully plotted his death and betrayed him, Joseph chose the gift of self-control and loved his ... 9 Paul very plainly teaches us about love in his letter to the Corinth church, leaving no doubt that the ...
Author: Frederick Grosse
In today's rapidly changing society, the rules you learned as a child may no longer apply, causing you to experience restlessness and confusion. The Eight Masks of Men: A Practical Guide in Spiritual Growth for Men of the Christian Faith will encourage you to come out from behind your mask of solitude and loneliness--one of man's most obtrusive masks--and reach out for help and community. By answering questions commonly asked by men of various religious and personal backgrounds, this book will help you tune into your feelings, innermost thoughts, and that void you feel inside. As you become consciously aware of how the eight masks are a part of your being, you will recognize the true gift beneath each one. The Eight Masks of Men is the first book to combine historical, theological, and sociological perspectives with a practical approach for personal growth. To help you divest yourself of your inhibitions and experience inner harmony, it blends personal stories, humorous anecdotes, biblical research, and clinical information. The eight masks that men wear and what they hide that author Rev. Dr. Frederick G. Grosse explores include: mask: loneliness; hides: desire for community mask: rage and anger; hide: pain and hurt mask: compulsion; hides: desire for love mask: performance; hides: desire for acceptance mask: control; hides: desire for friendship mask: producing; hides: desire to just “be” mask: competition; hides: desire for humility mask: institutional religion; hides: desire for spiritual growth Don't let tragedy or desperation strike before you commit to building a healthier relationship with yourself, the people important to you, and God. Men who feel out of touch with their spiritual sides, retreat and spiritual direction leaders, pastoral counselors, chaplains, marriage and family counselors, and members of the clergy will find in The Eight Masks of Men the inspiration and insight they need to guide themselves and one another to a season of union with God.
This tension is especially evident in the association of love and death , which is a recurrent theme in art as well as literature . From our point of view , one of the most interesting examples is a Portrait of a Couple by a late ...
1 1 1 Moore , John Rees , Masks of Love and Death ; Years as Dramatist . 1971 . Pp . 310-28 “ An Old Man's Tragedy - Yeats's ' Purgatory ' " , Modern Drama , 5 : 440-50 , 1963 Pearce , Donald R. , “ Yeats's Last Plays ...