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| sex sexual selection sexuality Seychelles shadow Shakespeare shale Shaman Shamash Shamayim Shansi Loess region Shapley, | 5260 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| articles on the catastrophic imagery of Shakespeare, | 20522 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| a formidable body of analysis on Shakespeare, | 20523 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| Prof. Wolfe has found them in Shakespeare 59 . | 29789 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : THE EXPLOSION OF THIRA |
| 1975-76), "The Catastrophic Substructure of Shakespeare's Anthony and Cleopatra'," | 32522 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| of the poet, quotes Ager from Shakespeare, " | 48831 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 30 Intensity, Scope and Suddenness - |
| and languages, but so also are Shakespeare's comedies and tragedies. | 64746 HOMO SCHIZO I: - - Chapter 4: THE GESTALT OF CREATION : THE DOUBLE CATASTROPHE |
| would say, 'somewhat mad, but sublime. ' Shakespeare has joined together the transacting elements in a few lines of A Midsummer Night's Dream: | 67189 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SUBLIMATION |
| is history. These famous lines of Shakespeare seem to be in context here. | 67575 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY - |
| is common to find 'madness' in Shakespeare and Samuel Becket, | 67623 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : A SICK JOURNEY |
| mind between natural and political violence; Shakespeare, | 74091 HOMO SCHIZO II: - - Chapter 5: COPING WITH FEAR : ORGIES AND HOLOCAUSTS |
| among them. A half-century after Shakespeare's niagara of words, | 74466 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH : NEUROLOGY OF SPEECH |
| talking to whom? When we watch Shakespeare's As You Like It, | 76060 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : SUBLIMATION AS PREFERABLE DISPLACEMENTS |
| at Peace: The Contemporary Foundations of Shakespeare's Cataclysmic Imagery," | 76253 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : Notes (Chapter 7: The Good, the True, and the Beautiful) |
| of the god-inspired Demodocus. Like Shakespeare she acted in her own plays: | 76832 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 1: AN ATHENA PRODUCTION - |
| of a century of shocks. Like Shakespeare, | 83158 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 14: THE USES OF LANGUAGE : HOMER: EDITOR AND PUBLISHER |
| consulting the Gospels (Strauss, 1820), or Shakespeare's Antony and Cleopatra (Wolfe, | 107894 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| in the proposed research. They include Shakespeare, | 108131 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| Irving Wolfe. "The Catastrophic Substructure of Shakespeare's Antony and Cleopatra, | 108470 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : SELECTED BIBLIOGRAPHY OF PERTINENT WORKS |
| western epics (Homer, the Edda) 21. Shakespeare 22. | 111301 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 28: SYLLABI FOR QUANTAVOLUTION - |
| I. Wolfe, "The Catastrophic Substructure of Shakespeare's 'Anthony and Cleopatra'", | 111373 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 28: SYLLABI FOR QUANTAVOLUTION - |
| etc.), Homeric writings reinterpreted. Hesiod, Ovid, Shakespeare et al. | 111549 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 29: I.Q.: A UNIVERSITY PROGRAM : CURRICULUM |
| World Variations William Mullen CHAPTER 5: SHAKESPEARE AND VELIKOVSKY: | 125961 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - TABLE OF CONTENTS - |
| discusses Velikovskian overtones in two of Shakespeare's plays. | 126115 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| VELIKOVSKY AND CULTURAL AMNESIA CHAPTER FIVE SHAKESPEARE AND VELIKOVSKY Catastrophic Theory and the Springs of Art Irving Wolfe Etudes Anglaises Universit de Montreal Ed. | 129181 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to be astonishing Velikovskian overtones in Shakespeare's plays, | 129203 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| section, I wish to analyse William Shakespeare's A Midsummer Night's Dream as an example of narrative art whose subconscious bedrock is Velikovskian. | 129209 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is highly serious, like all of Shakespeare's comedies, | 129213 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| reached an impasse. Then, typically, in Shakespeare, | 129236 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is. I would therefore suggest that Shakespeare's plays may be best understood if they are seen as falling naturally into three parts, | 129244 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in a rather Hegelian sequence. In Shakespeare's comedy, | 129248 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| and elaborate pageantry on state occasions, Shakespeare writes a play in which, | 129386 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| experienced. It almost seemed as if Shakespeare had had the writings of Dr. | 129393 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| must be pointed out that in Shakespeare, | 129425 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the end of the play. To Shakespeare, | 129522 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| be well. 3.2.458-463. Shakespeare gives Puck generic and somewhat mocking terminology to make us recognize that what has just occurred is not a private event pertaining only to these four individual humans, | 129613 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of the desired events have occurred. Shakespeare had sent into the forest a group of bumbling yokels, | 129686 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the future welfare of Athens, and Shakespeare had stirred his ingredients vigorously, | 129689 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is that nature is unfathomable. Those Shakespeare plays that specifically treat of nature more precisely, | 129734 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| his powers, it had become by Shakespeare's time a night of general merriment with overtones of magic. | 129783 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in which they are set by Shakespeare, | 129799 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| account all possible conscious influences upon Shakespeare, | 129825 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| 73. It would appear that, with Shakespeare's imagination actively engaged, | 129882 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| weak appendage, a simple attempt by Shakespeare to end on a purely comic note, | 129979 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| very much more, for in it Shakespeare proceeds to make clear the larger meanings in his play by throwing questions at us which we ourselves must weigh and find answers for, | 129980 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to perceive and to grasp what Shakespeare is getting at. | 129983 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| has been in effect virtually completed, Shakespeare begins to pile hint upon hint, | 129987 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| If we are to perceive what Shakespeare is really getting at here, | 130046 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| passage, as a good part of Shakespeare's audience could have been counted on to do. | 130047 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| have been counted on to do. Shakespeare is setting out to defend a play when plays were attacked as mere fancy, | 130048 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| they are foolishness. With consummate elegance, Shakespeare leaves it to us to choose what we will be as we watch the last act - natural man or spiritual man. | 130094 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the following relationship - we must approach Shakespeare's play as Theseus' court approaches the yokels' playlet. | 130136 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| 61-83. If we imagine that Shakespeare's play, | 130162 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| but in a trice he becomes Shakespeare's spiritual spokesman, | 130167 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| told, even if we find Mr. Shakespeare's play clumsy. | 130189 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| fifth act, is excruciatingly funny, but Shakespeare's hints tell us there is some method behind this apparent madness. | 130204 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| everyone gone but Puck, who delivers Shakespeare's epilogue. | 130246 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the final choice is left by Shakespeare to us - we can react like Bottom, | 130277 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| we, the audience, watching Theseus in Shakespeare's play, | 130288 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| sometimes do not. It is thus Shakespeare's intention in this play to explain the ways of God to man. | 130291 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the ways of God to man. Shakespeare is saying that the world, | 130291 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| comes second, or last. This is Shakespeare's comic vision, | 130296 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| sure. The image carries through in Shakespeare's creating mind, | 130377 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| dialogue, there is a conjunction in Shakespeare's mind of pestilence, | 130384 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| corresponding celestial and catastrophic imagery which Shakespeare has used to characterize the lovers at every important stage of their story's development. | 130420 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Sun, and that is the point Shakespeare wishes to make. | 130715 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| note between these extremes, arguing that Shakespeare balances love versus duty so carefully that neither is solely to be preferred, | 130735 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| be argued that celestial imagery in Shakespeare's play is in order because he is dramatizing material only recently available to his culture, | 130740 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| decline in Antony. He says that Shakespeare describes him as Mars, | 130794 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| and Venus as it does to Shakespeare's Antony. | 130812 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| opposing images of water and earth, Shakespeare creates a series of images of the process of change. | 130838 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Antony and Cleopatra, in which William Shakespeare's depiction of Mars and Venus bears so great a resemblance to Immanuel Velikovsky's. | 130957 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| religious models which he feels underlie Shakespeare's play, | 130962 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Davidson's linking of them to Shakespeare's play may indicate a form of continuity of idea between the actual times of the catastrophes and Shakespeare's day. | 130968 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| actual times of the catastrophes and Shakespeare's day. | 130969 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Thus she usurps the phallic role, Shakespeare suggests: | 130994 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in one sense also-viewed by Shakespeare as a major source of discord within the ancient Roman world 66 . | 131038 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to Cleopatra debilitated him. The image Shakespeare uses is martial, | 131045 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Velikovsky, when he tells us that Shakespeare was familiar with the Ares-Aphrodite rod - Hephaestus triangle which de Grazia has seen as a mythological retelling of the Velikovsky scenario 71 . | 131075 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| dimensions by Davidson through reference to Shakespeare's own words, | 131080 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| have been an important element in Shakespeare's depiction of Antony and Cleopatra 73 . | 131089 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| This is certainly the case in Shakespeare's play, | 131149 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the classical and medieval background to Shakespeare's plays merges virtually directly with my Velikovskian interpretation of it. | 131159 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| s cake and eating it, which Shakespeare, | 131205 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Rinaldo is rescued from her power, Shakespeare insists upon transforming the destructive passion which Cleopatra represents into its seeming opposite 89 . | 131250 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| orbits, and the vision is cosmic. Shakespeare at both ends of his drama is echoing the Apocalypse, | 131270 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| a result of the gnosis of Shakespeare's art 93 . | 131287 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| we could not otherwise look at. Shakespeare is the most universal of narrative artists; | 131515 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| years that this is partly because Shakespeare ' s works touch a number of universal chords, | 131518 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| we must do no less. Notes (Shakespeare and Veliovsky) 1. | 131677 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Notes (Shakespeare and Veliovsky) |
| Dream refer to the Signet Classic Shakespeare edition, | 131683 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Notes (Shakespeare and Veliovsky) |
| 76-81. 10. Barber, C. L., Shakespeare's Festive Comedy (Princeton University Press, | 131701 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Notes (Shakespeare and Veliovsky) |
| 264; 248-250. 33. Lee, Robin, Shakespeare: | 131761 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Notes (Shakespeare and Veliovsky) |
| de Montral; he teaches there Shakespeare and Drama, | 133205 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |
| based particularly in his study of Shakespeare. | 133207 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |