Shakespeare's Changing Use of Psychological Reference in His ComediesStanford University, 1978 - 504 strán (strany) |
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Strana 89
... Olivia her duty to cast off grief and accept life and love when she reminds her that " what is yours to bestow is not yours to reserve . " Similarly , she warns Orsino that he " needs must " accept Olivia's refusal and seek a willing ...
... Olivia her duty to cast off grief and accept life and love when she reminds her that " what is yours to bestow is not yours to reserve . " Similarly , she warns Orsino that he " needs must " accept Olivia's refusal and seek a willing ...
Strana 98
... Olivia , although she does not appear on the stage until the end of the first act , is described in the first scene , and her resemblance to Orsino is immediately evident . mourning . Valentine reports that she has pledged seven years ...
... Olivia , although she does not appear on the stage until the end of the first act , is described in the first scene , and her resemblance to Orsino is immediately evident . mourning . Valentine reports that she has pledged seven years ...
Strana 100
... Olivia believes she loves , is simply the figure , the mirror- image of Sebastian , and Viola is then free to appear in her natural , feminine guise to an already loving Orsino . The second scene of the play presents Viola's arrival in ...
... Olivia believes she loves , is simply the figure , the mirror- image of Sebastian , and Viola is then free to appear in her natural , feminine guise to an already loving Orsino . The second scene of the play presents Viola's arrival in ...
Časté výrazy a frázy
Achilles action All's Angelo Antonio appetite argues Bassanio behavior believes Bertram blood Bullough Camillo casket characters Christian Claudio Comedy of Errors complicated confusion contrasts Countess create crimes Cymbeline describes Dramatic Sources Duke Elizabethan emotions Ends ethical evil explain faculty psychology final Florizel fool Gentlemen of Verona golden Greek happiness hath hatred Hector Helena Hermione hierarchical honor Hooker human humour imagination innocence interpretation Isabella jealousy judgment justice King Lafeu language later comedies Leontes Love's Labour's Lost lovers madness Malvolio man's Measure for Measure medieval melancholy Merchant of Venice mercy Minde in Generall motive Narrative and Dramatic nature Olivia Orsino parallel Parolles pastoral Perdita plot Polixenes Portia portrayed Posthumus promise protagonists Proteus rational reason recognizes renaissance repentance role romance scene sense Shakespeare Shakespeare's play Shakespearean comedy Shylock sins soul thou Troilus and Cressida Trojan Twelfth Night villains Viola virtue warns wife Winter's Tale wisdom