Which critic of Shakespeare wrote the Shakespearean Tragedy ? ?->(Show Answer!)

1. Which critic of Shakespeare wrote the Shakespearean Tragedy ?

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MCQ-> The passage given below is followed by a set of three questions. Choose the most appropriate answer to each question.Every civilized society lives and thrives on a silent but profound agreement as to what is to be accepted as the valid mould of experience. Civilization is a complex system of dams, dykes, and canals warding off, directing, and articulating the influx of the surrounding fluid element; a fertile fenland, elaborately drained and protected from the high tides of chaotic, unexercised, and inarticulate experience. In such a culture, stable and sure of itself within the frontiers of 'naturalized' experience, the arts wield their creative power not so much in width as in depth. They do not create new experience, but deepen and purify the old. Their works do not differ from one another like a new horizon from a new horizon, but like a madonna from a madonna.The periods of art which are most vigorous in creative passion seem to occur when the established pattern of experience loosens its rigidity without as yet losing its force. Such a period was the Renaissance, and Shakespeare its poetic consummation. Then it was as though the discipline of the old order gave depth to the excitement of the breaking away, the depth of job and tragedy, of incomparable conquests and irredeemable losses. Adventurers of experience set out as though in lifeboats to rescue and bring back to the shore treasures of knowing and feeling which the old order had left floating on the high seas. The works of the early Renaissance and the poetry of Shakespeare vibrate with the compassion for live experience in danger of dying from exposure and neglect. In this compassion was the creative genius of the age. Yet, it was a genius of courage, not of desperate audacity. For, however elusively, it still knew of harbours and anchors, of homes to which to return, and of barns in which to store the harvest. The exploring spirit of art was in the depths of its consciousness still aware of a scheme of things into which to fit its exploits and creations. But the more this scheme of things loses its stability, the more boundless and uncharted appears the ocean of potential exploration. In the blank confusion of infinite potentialities flotsam of significance gets attached to jetsam of experience; for everything is sea, everything is at sea - .... The sea is all about us; The sea is the land's edge also, the granite Into which it reaches, the beaches where it tosses Its hints of earlier and other creation ... - and Rilke tells a story in which, as in T.S. Eliot's poem, it is again the sea and the distance of 'other creation' that becomes the image of the poet's reality. A rowing boat sets out on a difficult passage. The oarsmen labour in exact rhythm. There is no sign yet of the destination. Suddenly a man, seemingly idle, breaks out into song. And if the labour of the oarsmen meaninglessly defeats the real resistance of the real waves, it is the idle single who magically conquers the despair of apparent aimlessness. While the people next to him try to come to grips with the element that is next to them, his voice seems to bind the boat to the farthest distance so that the farthest distance draws it towards itself. 'I don't know why and how,' is Rilke's conclusion, 'but suddenly I understood the situation of the poet, his place and function in this age. It does not matter if one denies him every place - except this one. There one must tolerate him.'In the passage, the expression “like a madonna from a madonna” alludes to
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MCQ-> Read the passage and answer the questions that follow: Passage II Reverence is a dirty word at the Almeida Theatre in Islington, North London. Rupert Goold, the artistic director, and Robert Icke, his associate, are resolved to take dusty, distant cultural artefacts of drama and shake them hard. so that they will entertain modern audiences, especially those with no previous knowledge of the plays. Mr Icke holds that to save the classics from withering, a director must be willing even to reinterpret the original author's intentions. This summer Messrs Goold and Icke have directed freshly translated versions of the oldest of all "dusty theatrical artefacts": the ancient Greek tragedies of Aeschylus and Euripides. These versions ruthless) rewrite texts and alter plots. In Euripides's "Medea'. the last of the season of three plays which opened on 1st October directed by Mr Goold. Medea murders her two children as revenge on her unfaithful husband. Not at the Almeida: in this version, her sons die—or perhaps do not—by eating sleeping pills. Mr Icke's version of "Oresteia" by Aeschylus is described as "a new adaptation", but classics scholars insist that it is much more than that. The masked male chorus which propels all Greek tragedy, so memorable in Sir Peter Hall's production at the National Theatre in 1981, is jettisoned. Mr Icke's -Oresteie starts with 46 pages of text (out of 113 in all) that are a dramatisation of the long choral ode in Aeschylus's "Agamemnon-. It deals with his decision to sacrifice his daughter Iphigenia to ensure his ships a fair wind for Troy. Mr Icke believes that, without this prelude, it is hard to appreciate fully the ensuing, awe-inspiring family tragedy in which his wife Klytemnestra kills Agamemnon to avenge their daughter's death, and then is murdered in turn by their son Orestes. The extra material makes for a long evening, but it speeds by. Only the "Bakkhai". the second of the Almeida's three plays, conforms to the traditional Greek unities of time and place, and as in ancient Greece, has all the speaking roles played by three actors, backed by a chorus (though of Bacchic ladies rather than masked men). The Greek season defines the Almeida's style of work. Mr Goold has unearthed a rich new seam of modem theatre by reviving and generally energising work by authors such as Luigi Pirandello and Bret Easton Ellis. His delightful version of "The Merchant of Venice"- set in Las Vegas, was played largely for laughs, with the verse adapting easily to a singsong southern American accent. Even his failures, such as a "King Lear and Puccini at the English National Opera, had moments that linger in the memory. Actors like working there. Since small theatres like the Almeida cannot pay well, actors choose the work over the money. In this Greek season, the two most memorable performances are by Lia Williams as Klytemnestra and Kate Fleetwood, who is Mr Goold's wife, as Medea. Each exhibits an emotional range that holds the action together. The rage, temper and insult of the dialogue between Medea and her husband Jason, here conducted on their mobile phones, reveal a direct linguistic link from ancient Greece to contemporary soap opera. Whatever quibbles there might be about the editing, cutting and rewriting of the texts, surely the significant question about this ambitious project is whether the audience is gripped by the performances. Enthusiastic word-of-mouth suggests the answer is yes.In this passage, the word "reverence" can be interpreted as....