Shakespeare's Early TragediesMethuen, 1968 - 214 strán (strany) Shakespeare's Early Tragedies contains studies of six plays: Titus Andronicus, Richard III, Romeo and Juliet, Richard II, Julius Caesar and Hamlet. The emphasis is on the variety of the plays, and the themes, a variety which has been too often obscured by the belief in a single 'tragic experience'. The kind of experience the plays create and their quality as dramatic works for the stage are also examined. These essays develop an understanding of Shakespeare's use of the stage picture in relation to the emblematic imagery of Elizabethan poetry. |
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Strana 66
... emerges with ' blood ' in ll . 58-9 , and is more strongly marked in ' unnatural ' in the next two lines . It is extended into the dialogue between the two , in units that vary in length : ANNE : GLOUCESTER : ANNE : GLOUCESTER : ANNE ...
... emerges with ' blood ' in ll . 58-9 , and is more strongly marked in ' unnatural ' in the next two lines . It is extended into the dialogue between the two , in units that vary in length : ANNE : GLOUCESTER : ANNE : GLOUCESTER : ANNE ...
Strana 78
... emerges in Act V as a manifestation of the Divine Will , destroying Richard and substituting the unequivocally angelic Richmond . So that in the end the ironist himself is subject to a greater irony , that he has functioned as an ...
... emerges in Act V as a manifestation of the Divine Will , destroying Richard and substituting the unequivocally angelic Richmond . So that in the end the ironist himself is subject to a greater irony , that he has functioned as an ...
Strana 112
... when , later , a more flexible and human utterance emerges , it is not so much a maturing of Shakespeare's way of writing as the assertion of a humanity that cannot fulfil the divine image . In this II2 Shakespeare's Early Tragedies.
... when , later , a more flexible and human utterance emerges , it is not so much a maturing of Shakespeare's way of writing as the assertion of a humanity that cannot fulfil the divine image . In this II2 Shakespeare's Early Tragedies.
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Aaron action ambivalence Antony audience beast becomes blank verse blood Bolingbroke Brutus Cassius character choric Clarence Clarence's Claudius climax comedy comic conscience contrast course criticism curse death divine doth Dover Wilson dramatic dream earlier plays echoes Elizabethan emblem emblematic emerges established experience fact Faerie Queene father figure final formal ghost Hamlet hath heaven and hell Henry heroic Horatio human irony judgement Julius Caesar kind king Laertes later plays Lavinia Lucius Lucrece Marcus Margaret Mercutio mode murder nature night nobility noble obvious Ophelia pattern play's poetic poetry political Polonius prose Queen Queen Mab question Rape of Lucrece revenge rhetorical Richard Richard II ritual Roman Rome Romeo and Juliet Saturninus scene seems sense sequence Shakespeare significance simple soliloquy Spanish Tragedy speech splendour stage storm stress structure suggested Tamora thee theme thing thou tion Titus Andronicus tone tragedy tragic utterance words