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International Journal of Transpersonal Studies

Abstract

Cymbeline reflected Shakespeare’s late-in-life aspirations for a world redeemed. Those in baroque England, past the first burgeoning of Renaissance vision, were nevertheless making a literal New World abroad. Likewise, Shakespeare arrived at a vision both post-innocent and post-tragic. As they compared to tragic heroes, he down-sized the late play characters; still, he granted them a gentler end. Late characters and worlds suffered centrifugal pressures; yet, ultimately, centripetal forces, internal and external, brought selves and worlds together. Relevant to today’s disassembled world, the study tracks Shakespeare’s approach to unification: He rebalanced gender, internal and external; he placed an emphasis on feminine and pastoral virtues, crucial for navigating a seemingly chaotic but beneficent cosmos. In addition, his vision in Cymbeline was mystical, relying on acute and shifting contextual awareness, and the power of a vivid particular to transport beyond the rational.

Creative Commons License

Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.

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