David Bevington. Shakespeare’s Ideas: More Things in Heaven and Earth. Jonathan Bate. Soul of the Age: A Biography of the Mind of William Shakespeare.

2009 ◽  
Vol 60 (4) ◽  
pp. 487-493
Author(s):  
R. A. Foakes
1925 ◽  
Vol 26 ◽  
pp. 88-105
Author(s):  
C. T. Seltman

The Greek Love-god of the fifth and fourth centuries before our era may perhaps be looked upon as an amalgamation of three distinct divine entities. Eros was Love, the creative desire of nature, and as such the soul within god and man; Eros was the love-child, son of Aphrodite-Cypris; Eros was the idealisation of human beauty beloved.In the ancient cult centres of Thespiae and Parium the god was apparently not so much the personification of human love as a great physical and elemental force of nature. As such he ranks among the three primaeval Forces in the Theogony of Hesiod, who opens with these words his tale of creation (116 ff.): ‘Verily at the first Chaos came to be, but next wide-bosomed Earth, the ever-sure foundation of all the deathless ones who hold the peaks of snowy Olympos and dim Tartaros in the wide-pathed earth, and Eros, fairest among the deathless gods, who unnerves the limbs and overcomes the mind and counsels within them of all gods and all men.’ This is apparently the Eros who figured in the earliest Orphic Theogony, concerning which A. B. Cook has collected a wealth of material. He reconstructs partially the contents, which possibly told that in the beginning was Nyx. Black-winged Nyx laid an egg from which ‘sprang golden-winged Eros. Apparently heaven and earth were regarded as the upper and lower halves of the vast egg.’


2005 ◽  
Vol 27 (3) ◽  
pp. 15-18 ◽  
Author(s):  
Guy C. Brown

“To be, or not to be: that is the question:Whether ‘tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles,And by opposing end them? To die” William Shakespeare, Hamlet


1962 ◽  
Vol 55 (2) ◽  
pp. 73-119 ◽  
Author(s):  
Arnold Ehrhardt

Not so long ago a little treatise on the Apostles' Creed was edited by the late Dom R. H. Connolly, and established as the property of Ambrose of Milan. In this treatise the statement may be found that “when therefore the holy Apostles all came together they compiled a short formula of the faith so that we might shortly be instructed about the whole course of the faith.” We are not concerned here with the question on what occasion the holy Apostles did come together. Apocryphal traditions know of several such meetings of the Apostles, usually with the Virgin Mary, and it was presumably one of these which was in the mind of the great bishop of Milan. The significant fact is rather that he denied here that Christianity ever went through a pre-credal period. His great authority could not fail to make a lasting impression, especially upon the Western Church. It is evidently on the basis of this his assertion that we find, in the orations of Pseudo-Augustine, a Creed that is divided as follows: “Peter said: ‘I believe in God the Father Almighty, maker of heaven and earth.’ Andrew said: ‘And in Jesus Christ his only son our Lord.’ James said: ‘Who was conceived by the Holy Ghost, born of Mary the virgin.’ John said: ‘Suffered under Pontius Pilate, was crucified, dead, and buried.’ Thomas said: ‘He descended into hell; the third day he rose again from the dead,’ ” and so on till at last Matthias finishes with the words, “and the life everlasting. Amen.”


Author(s):  
Ying-shih Yü

By tracing the development of the worldly transformation of the idea and cult of immortality, this article demonstrates that ancient Han Chinese gradually came to perceive the worlds between the living and the dead not as two mutually exclusive realms, though not exactly as identical either. Such a perception also reflects their world view of the human, Heaven and Earth as an integrative unity.


Author(s):  
Gillian Knoll

Conceiving Desire in Lyly and Shakespeare explores the role of the mind in creating erotic experience on the early modern stage. To “conceive” desire is to acknowledge the generative potential of the erotic imagination, its capacity to impart form and make meaning out of the most elusive experiences. Drawing from cognitive and philosophical approaches, this book advances a new methodology for analysing how early modern plays dramatize inward erotic experience. Grounded in cognitive theories about the metaphorical nature of thought, Conceiving Desire in Lyly and Shakespeare traces the contours of three conceptual metaphors—motion, space, and creativity—that shape erotic desire in plays by John Lyly and William Shakespeare. Although Lyly and Shakespeare wrote for different types of theatres and only partially-overlapping audiences, both dramatists created characters who speak erotic language at considerable length and in extraordinary depth. Their metaphors do more than merely narrate or express eros; they constitute characters’ erotic experiences. Each of the book’s three sections explores a fundamental conceptual metaphor, first its philosophical underpinnings and then its capacity for dramatizing erotic experience in Lyly’s and Shakespeare’s plays. Conceiving Desire in Lyly and Shakespeare provides a literary and linguistic analysis of metaphor that credits the role of cognition in the experience of erotic desire, even of pleasure itself.


1890 ◽  
Vol 2 ◽  
pp. 53-73
Author(s):  
Philip Schaff

The Divina Commedia, that “sacred poem”—“To which both heaven and earth have set their hand,”has an equal attraction for the poet, the historian, the philosopher, and the theologian. It is a mirror of mediaeval Christianity and civilization, and resembles a Gothic cathedral which lays all sciences and arts under contribution and fills the mind with wonder and awe. It has justly been called “the mediaeval miracle of song.” No poem can be compared with it for general and abiding interest except the Book of Job, and Goethe's Faust.


2021 ◽  
Author(s):  
Karenleigh A. Overmann

Austen’s ability to represent psychologically plausible characters poses the question of what she would have known about the mind and its disorders. An answer requires insight into the ways the mentally afflicted were treated during the Regency and mind and madness understood by some of Austen’s literary influences (William Shakespeare, James Boswell, and Elizabeth Hamilton). Austen’s depiction of mind and madness in her novels contrasts with what she knew and wrote about medicine and medical practices for physical illnesses and injuries. The tenor of the times and the circumspect treatment of mind and madness in her novels, in turn, suggest that whatever firsthand knowledge she would have had from witnessing mental impairment in two family members was scrupulously hidden.


Author(s):  
Chantal Simon ◽  
Hazel Everitt ◽  
Françoise van Dorp ◽  
Matt Burkes

‘The eye is the window of the mind’ Richard II, William Shakespeare (1564–1616) Assessment of the eye Eye trauma Eye pain, papilloedema, and orbital disease Lid disease Blepharitis and tear duct problems The red eye and conjunctivitis Corneal, sclera, and uveal disease Visual field loss and blindness...


2020 ◽  
Vol 30 (3) ◽  
pp. 157-173
Author(s):  
Hidemichi Tanaka ◽  

Motoori (1730–1801) often criticized China, saying “Adashi Michi (alien way)” or “Kara Gokoro (Chinese mind).”“In China, they often say heaven’s way, heaven’s order or heaven’s reason and regard them as the most reverential and awesome things … firstly heaven is … not a thing with the mind, there cannot be such a thing as heaven’s order …” He concludes that there is no “way of nature” in China. He also mentions in his essay Tamakatsuma [Beautiful Bamboo Basket]: “We think that heaven and earth grow all things, but this is not true. It is the deed of Kami that all things grow. Heaven and earth is only the place where Kami grows all things. It is not heaven and earth that grow them.” Kami in this case seems to be different from heaven and earth, but this Kami is one with “nature” and he does not mean that Kami is above “nature.” I think that Motori resumes the essence of Shinto, comparing the thoughts of China.


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