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In the time of William Shakespeare, there were commonly reckoned to be five wits and five senses. [3] The five wits were sometimes taken to be synonymous with the five senses, [3] but were otherwise also known and regarded as the five inward wits, distinguishing them from the five senses, which were the five outward wits.
A painting by Gabriel von Max depicting Lady Macbeth attempting to clean her hand with the folded edge of her dress. The supposed Lady Macbeth effect or Macbeth effect is a priming effect in which feelings of shame appear to increase cleaning and cleanliness-seeking responses. [1]
Some researchers include a metacognitive component in their definition. In this view, the Dunning–Kruger effect is the thesis that those who are incompetent in a given area tend to be ignorant of their incompetence, i.e., they lack the metacognitive ability to become aware of their incompetence.
Hamlet and Oedipus is a study of William Shakespeare's Hamlet in which the title character's inexplicable behaviours are subjected to investigation along psychoanalytic lines.
Some of these movements (such as Dada and Beat) were defined by the members themselves, while other terms (for example, the metaphysical poets) emerged decades or centuries after the periods in question. Further, some movements are well defined and distinct, while others, like expressionism, are nebulous and overlap with other definitions.
Other versions of the material, such as John Lydgate's "Troy Book" and Caxton's "Recuyel of the History of Troy", were at the time of Shakespeare in England in circulation and probably known to him. [16] [17] The story was a popular one for dramatists in the early 17th century and Shakespeare may have been inspired by contemporary plays.
Sonnet 20 is one of the best-known of 154 sonnets written by the English playwright and poet William Shakespeare.Part of the Fair Youth sequence (which comprises sonnets 1-126), the subject of the sonnet is widely interpreted as being male, thereby raising questions about the sexuality of its author.
In common with his Romantic contemporaries, Hazlitt focuses on how, to communicate the meaning of the play, Shakespeare's imagination, [276] by the medium of poetry, stimulates the reader's or audience's imagination. [277] Several times, Hazlitt observes how Shakespeare by this imaginative construction seemed to become each character in turn.