Bøger af Lily Bess Campbell

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Lily Bess Campbell (1883-1967) was a professor of English at UCLA. She won the achievement award from the American Association of University Women in 1960 and was named Woman of the Year by the Los Angeles Times in 1962. One of the most eminent literary scholars of her generation in the United States, she published mostly on Tudor literature. This study, first published in 1930, examines how the passions were understood in the Renaissance and why they were a central concern in the philosophy and medical studies of the period. After several chapters exploring moral philosophy and tragedy more generally, Campbell analyses the characters of Hamlet, Othello, Lear and Macbeth in relation to their guiding emotions: grief, jealousy, wrath and fear. She argues that Shakespeare, in his major tragedies, reflected the latest thinking of his time about the passions and their role in shaping the human mind.

The Reformation and the impact of the Renaissance were almost simultaneous in England. So the English versions of the Bible appeared at much the same time as the new, worldly forms of verse and drama. This book looks at the use of the Bible by writers for new forms of religious verse.

Published to critical acclaim, the central argument of this book is that the historical play must be studied as a genre separate from tragedy and comedy.