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 49
... shows us moral problems without as many irrelevancies as we find in nature and thus shows them in a way that makes their complexities easier to see . This is his " moral purpose , " at least to judge from the plays . The tragedies give ...
... shows us moral problems without as many irrelevancies as we find in nature and thus shows them in a way that makes their complexities easier to see . This is his " moral purpose , " at least to judge from the plays . The tragedies give ...
Seite 56
... shows a tragic figure accepting his whole- ness - in this case the capacity for love being inseparable from the capacity for hate . Othello's final speech shows particularly well another important quality of the language of suicide and ...
... shows a tragic figure accepting his whole- ness - in this case the capacity for love being inseparable from the capacity for hate . Othello's final speech shows particularly well another important quality of the language of suicide and ...
Seite 357
... shows of force and of love . As Gold- berg , maintains , " The queen's legitimacy , the law that justifies her power , is the inheritance from Henry VIII of the show of force and the ability to display the actuality of power when the show ...
... shows of force and of love . As Gold- berg , maintains , " The queen's legitimacy , the law that justifies her power , is the inheritance from Henry VIII of the show of force and the ability to display the actuality of power when the show ...
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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