By Sophie Ratcliffe
What occurs after we have interaction with fictional characters? How do our imaginitive engagements undergo on our activities within the wider international? relocating among the literary and the philosophical, Sophie Ratcliffe onsiders the ways that readers suppose once they learn, and the way they comprehend rules of feeling. On Sympathy makes use of dramatic monologues in accordance with The Tempest as its concentration, and broaches questions on fictional trust, morality, and the dynamics among readers, writers, and fictional characters. The e-book demanding situations conventionally approved rules of literary id and sympathy, and asks why the belief of sympathy has been visible as so vital to liberal humanist theories of literary price. person chapters on Robert Browning, W. H. Auden, and Samuel Beckett, who all drew on Shakespeare's overdue play, supply new readings of a few significant works, whereas the book's epilogue tackles questions of latest sympathy. starting from the 19th century to the current day, this crucial new examine units out to explain and problem present assumptions approximately studying and sympathetic trust, laying off new gentle at the suggestion and excellent of sympathy, the workings of impact and allusion, and the ethics of examining.
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Extra info for On Sympathy (Oxford English Monographs)
The diYculties of recognizing another’s point of view can be usefully thought about by considering some of the problems that one encounters in dealing with a printed text. Prospero’s comment could be a world-weary sigh, the stresses falling upon the iambs of the line, ‘’Tis new to thee’. Alternatively, he might be leaning solely on the Wnal syllable, making this an ironic aside. 136 Prospero’s echo of his daughter’s speech speaks of this diVerence. His intonation will always be diVerent from hers; our illocutionary redescription will never recover his.
F. R. Leavis (London: Wishart, 1933), 3; L. C. Knights, How Many Children Had Lady MacBeth? An Essay in the Theory and Practice of Shakespeare Criticism (Cambridge: Minority Press, 1933), 64. 119 See Thomas Nagel, The View from Nowhere (New York: Oxford University Press, 1986), 7. 120 Simon Blackburn, Being Good (Oxford: Oxford University Press, 2001), 29. 34 Understanding Sympathy the capacity to transcend its particular point of view and to conceive of the world as a whole . . ’121 This mire of competing subjectivities, and modes of reading, has been seen to have led to a marked turn towards the ethical in recent literary and philosophical studies.
It asks us to consider whether art itself has the power to persuade the audience to feel sympathy with the character of Prospero, as an artist. If we look upon the play as an allegory for (or analogically related to) more general questions about art, sympathy, and life, then it is certain that no clear answers have been reached. What is more, while the play itself is full of such allegories (the banquet that Prospero sets for the travellers (III. iii. 71 The Tempest repeatedly provokes questions about the dangers of moving between Wctional and real worlds, and the complexities of mapping Wctions onto reality; even Prospero’s masque places the idea of allegory under scrutiny.