{"title":"《李尔王与探知的艺术》","authors":"Laurence J W Publicover","doi":"10.1086/699622","DOIUrl":null,"url":null,"abstract":"he second of King Lear ’s three great storm scenes opens with Kent, disguised as Caius, repeatedly urging the king to enter a hovel located offt stage. After batting away Kent’s first three pleas, Lear responds to the fourth with a speech that begins in refusal, moves grudgingly into assent, turns sideways toward the Fool, and concludes as an apostrophe (introduced as a prayer) on the impoverished. Here it is as printed in the 1623 Folio:","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"46 1","pages":"167 - 191"},"PeriodicalIF":0.0000,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/699622","citationCount":"1","resultStr":"{\"title\":\"King Lear and the Art of Fathoming\",\"authors\":\"Laurence J W Publicover\",\"doi\":\"10.1086/699622\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"he second of King Lear ’s three great storm scenes opens with Kent, disguised as Caius, repeatedly urging the king to enter a hovel located offt stage. After batting away Kent’s first three pleas, Lear responds to the fourth with a speech that begins in refusal, moves grudgingly into assent, turns sideways toward the Fool, and concludes as an apostrophe (introduced as a prayer) on the impoverished. Here it is as printed in the 1623 Folio:\",\"PeriodicalId\":53676,\"journal\":{\"name\":\"Renaissance Drama\",\"volume\":\"46 1\",\"pages\":\"167 - 191\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1086/699622\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Renaissance Drama\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/699622\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Renaissance Drama","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/699622","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"Arts and Humanities","Score":null,"Total":0}
he second of King Lear ’s three great storm scenes opens with Kent, disguised as Caius, repeatedly urging the king to enter a hovel located offt stage. After batting away Kent’s first three pleas, Lear responds to the fourth with a speech that begins in refusal, moves grudgingly into assent, turns sideways toward the Fool, and concludes as an apostrophe (introduced as a prayer) on the impoverished. Here it is as printed in the 1623 Folio:
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