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I TAKE rr that you are all aware that this is the medicinal part of the program, the penalty for your indulgence up to this point: first the sour mash, and then the sour note. I don't know whether the program chairman thought of me as a sort of living pill or as a Pennsylvania Dutch uncle. At any rate he put his kind invitation in a disarming fashion: he said that I would probably soon be disappearing from the scene but might first want to make a few latter-day remarks. A colleague of mine who is a big wave in the Four Seas interpreted this: we mean, he said, that if we let you hold forth here, will you then just go away and hold your peace forever. It would be soothing to the speaker if he could think of himself as a sort of spiritual digestif, a Courvoisier for communicators. He is
Research Article| March 01 1947 The New World in Dickens's Writings. Part Two Robert B. Heilman Robert B. Heilman Search for other works by this author on: This Site PubMed Google Scholar Trollopian (1947) 1 (4): 11–26. https://doi.org/10.2307/3044463 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Robert B. Heilman; The New World in Dickens's Writings. Part Two. Trollopian 1 March 1947; 1 (4): 11–26. doi: https://doi.org/10.2307/3044463 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentNineteenth-Century Literature Search This content is only available via PDF. Article PDF first page preview Close Modal You do not currently have access to this content.
The difficulties presented by the character of Macbeth—the criminal as tragic hero—have led some critics to charge Shakespeare with inconsistency, others to seek consistency by viewing the initial Macbeth as in some way morally defective, and still others to normalize the hero by viewing the final Macbeth as in some way morally triumphant. Perhaps a recollection of Lascelles Abercrombie’s enthusiastic phrase, ‘the zest and terrible splendour of his own unquenchable mind’ (1925), and of Wilson Knight’s comparable ‘emerges at last victorious and fearless’ (1930), helped stir L. C. Knights to complain (1933) that ‘the critics have not only sentimentalized Macbeth—ignoring the completeness with which Shakespeare shows his final identification with evil—but they have slurred the passages in which the positive good is presented by means of religious symbols’. Even after this, so unflighty an editor as Kittredge could say that Macbeth ‘is never greater than in the desperate valour that marks his end’. On the other hand, the editor of a Macbeth meant for schools describes Macbeth as a ‘bold, exacting and presumptuous criminal, . . . bent on destruction for destruction’s sake’, ‘the champion of evil’, ‘a monster’, giving ‘the impression . . . of some huge beast who . . . dies lashing out at everyone within range’.
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