This work while arguing that Shakespeare has the genius to mingle up words, phrases, and concepts in such a manner that they aptly fit globally-in different regions and countries, scrutinizes Shakespeare's sublimity through a vast critical scholarship. Not of an age but for all times, was critically remarked by Johnson, who was a contemporary of Shakespeare. His works are sentimental, pithy, and sometimes hilarious. He was the master to develop a connection between the narrative and his characters and that is why we notice, Hamlet's anger, everlasting love for Romeo and Juliet, Ophelia's agony, and King Lear's turning from foolishness to a modest and caring father. Theorists of the postcolonial era offer a variety of reasons for Shakespeare's recurrent presence around the globe-which are multi-folds, starting from worldwide recognized themes, his genius to transcend class, color or ethnicity, and linguistic barriers. Some others consider him as a symbol of what the Polish sociologist Zygmunt Bauman recalls as 'liquid modernity, part of the fluid, ideas-based economy of the global web, while he has been taken as a rhizomatic figure (person having self-replicating, multiple, and innovative ideas) based on touching the horizons of globalization. In the end, it concludes that Shakespeare's genius to intersperse notions to make them fit globally is at the heart of his works to designate him as a sublime figure.
Gothic is a twisting lens, an amplifying mirror; however, the pictures it shows to us have authenticity, and cannot be grasped in ordinary forms. At the end of the 18th and beginning of the 19th centuries, this genre was the only truthful alternative for psychology and the historical sciences, the only method to reach and understand those fierce territories where penetration of knowledge was restricted or late. Romantic writers broadened the range of gothic positively whilst providing a greater understanding of the connections between terror and other aspects, violence, spectatorship, the body, imagination, and cultural politics of emotions. Including Graveyard Poetry, the subtle and the sublime, and sentimentalism, the origin of the Gothic goes parallel to the origins of the novel. Furthermore, the research also unveils that my selected writers, by using the elements of fear and loathing have manifested people’s double standards, who want to rule the world by not giving space to other creatures; nonetheless, want to use other creatures for their benefit and ease. Keeping in a trial the scholarship on gothic theory given by David Punter and Aristotle’s view of tragedy this qualitative study critically examines the selected Romantic texts to trace the elements of fear and loathing bringing horror for some and tragedy for others.
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