Shakespearean CriticismCengage Gale, 2001 - 448 Seiten Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Seite 361
... Macbeth suggest that the character of the subject in Macbeth , unlike the character of the king , is bound to succession rather than master of it . It is the sense of being shackled to a rigorous succession of consequences , of causes ...
... Macbeth suggest that the character of the subject in Macbeth , unlike the character of the king , is bound to succession rather than master of it . It is the sense of being shackled to a rigorous succession of consequences , of causes ...
Seite 363
... Macbeth shall sleep no more ! ' ( 2.2.34-42 ) The revocation of the natural sequence of waking and sleep ( and of night and day both in Rosse's description in 2.4 , and Lady Macbeth's line , 3.4.126 ) is reflected in a number of ...
... Macbeth shall sleep no more ! ' ( 2.2.34-42 ) The revocation of the natural sequence of waking and sleep ( and of night and day both in Rosse's description in 2.4 , and Lady Macbeth's line , 3.4.126 ) is reflected in a number of ...
Seite 366
... Macbeth's speech , as it was denied by the First Witch's tale in Act 1 , scene 3. Narrative represents one kind of succession of the many that threaten Macbeth , this beneficiary of succession who becomes its enemy at the moment of his ...
... Macbeth's speech , as it was denied by the First Witch's tale in Act 1 , scene 3. Narrative represents one kind of succession of the many that threaten Macbeth , this beneficiary of succession who becomes its enemy at the moment of his ...
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allusions Antony and Cleopatra Arthur audience Bastard becomes body characters Christian claim Claudius comedy Cordelia Coriolanus critics cultural dead death desire dramatic dying Elizabethan England English erotic essay Falstaff father final scene gender goddess Hamlet hath Henry Henry VI Hercules hero heterosexual homoerotic homoeroticism homosexual Hotspur human imagination Ixion James Juliet Juno King John King Lear Lear's London lovers Macbeth male marriage Mars medieval Midsummer Night's Dream mimetic moral murder myth mythical mythology nature Olivia Orsino Othello Ovid Ovid's play's plot political Pygmalion Queen Renaissance Richard Richard III ritual role Roman Romeo says seems sense sexual Shake Shakespeare Shakespeare's play sion sleep social sodomy Sonnet 20 sonnets soul speare's speech stage story succession suggests symbolic Talbot theatrical thee Theseus thou throne Timon tion tragedy tragic Twelfth Night University Press Viola Winter's Tale women words York