The Cambridge Introduction to Shakespeare's TragediesCambridge University Press, 08.03.2007 - 169 Seiten Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shakespearean tragedy? Is it in fact helpful to talk about 'Shakespearean tragedy' as a concept, or are there only Shakespearean tragedies? What kind of figure is the tragic hero? Is there always such a figure? What makes some plays more tragic than others? Beginning with a discussion of tragedy before Shakespeare and considering Shakespeare's tragedies chronologically one by one, this 2007 book seeks to investigate such questions in a way that highlights both the distinctiveness and shared concerns of each play within the broad trajectory of Shakespeare's developing exploration of tragic form. |
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Seite 12
... thing , either by necessity , or as a rule , but has nothing following it . A middle is that which follows something as some other thing follows it . A well constructed plot , therefore , must neither begin nor end at haphazard , but ...
... thing , either by necessity , or as a rule , but has nothing following it . A middle is that which follows something as some other thing follows it . A well constructed plot , therefore , must neither begin nor end at haphazard , but ...
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... things were said for the succession to put things in certainty . Anonymous report of the first performance of Gorboduc , at the Inner Temple , January 1562 In this way too , it set an important precedent for later English tragedy ...
... things were said for the succession to put things in certainty . Anonymous report of the first performance of Gorboduc , at the Inner Temple , January 1562 In this way too , it set an important precedent for later English tragedy ...
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Inhalt
Abschnitt 1 | 25 |
Abschnitt 2 | 26 |
Abschnitt 3 | 27 |
Abschnitt 4 | 33 |
Abschnitt 5 | 38 |
Abschnitt 6 | 40 |
Abschnitt 7 | 43 |
Abschnitt 8 | 46 |
Abschnitt 14 | 77 |
Abschnitt 15 | 84 |
Abschnitt 16 | 91 |
Abschnitt 17 | 103 |
Abschnitt 18 | 114 |
Abschnitt 19 | 115 |
Abschnitt 20 | 126 |
Abschnitt 21 | 127 |
Abschnitt 9 | 52 |
Abschnitt 10 | 55 |
Abschnitt 11 | 65 |
Abschnitt 12 | 66 |
Abschnitt 13 | 72 |
Abschnitt 22 | 134 |
Abschnitt 23 | 136 |
Abschnitt 24 | 140 |
Abschnitt 25 | 147 |
Abschnitt 26 | 150 |
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action actor Antony and Cleopatra Antony's Apemantus Aristotle audience Aufidius become blood bond Brutus Capulet Cassius chorus classical close clown comedy comic contemporary contrast Cordelia Core scene Coriolanus death Desdemona drama earlier Elizabethan emblematic Emilia excess Faustus fear feel figure Folio friends Ghost Gloucester Gorboduc Hamlet handkerchief honour human Iago Iago's Julius Caesar kill kind King kneeling Lady Macbeth Lavinia Lear Lear's lovers Macduff manhood Marcus mark antony Martius masculinity moral murder opening scene Ophelia Othello parallel performance perspective play play's Plutarch political Portia protagonist question recalls recognise represented response revenge tragedy rhetoric ritual Roman Rome Romeo and Juliet Saturninus scripts seems Seneca sequence Shakespeare Shakespearean tragedy shows soliloquy Spanish Tragedy speak speech stage direction story suggest Tamora theatre thee thing thou Timon of Athens Titus Andronicus tragic hero villain violence virtue wife women words