Philological Papers, Band 8West Virginia University, 1947 |
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Seite 34
... scene , therefore , it appears that Shake- speare made his poetry subserve the dramatic needs of emphasis , plot , and character . Act II , Scene ii likewise shows a subordination of style to drama . Cut into eight sections at lines 59 ...
... scene , therefore , it appears that Shake- speare made his poetry subserve the dramatic needs of emphasis , plot , and character . Act II , Scene ii likewise shows a subordination of style to drama . Cut into eight sections at lines 59 ...
Seite 35
... Scene iii is the psychological crux of the play . All the influences that make Othello jealous converge here ; and his style and that of Iago show subtle changes as his suspicions grow to a frenzied determination for revenge . The ...
... Scene iii is the psychological crux of the play . All the influences that make Othello jealous converge here ; and his style and that of Iago show subtle changes as his suspicions grow to a frenzied determination for revenge . The ...
Seite 37
... scene seems also to indicate that Shakespeare's complex rhetoric is no matter of mere un- tutored genius , but rather a deliberately woven pattern like that in the fine texture of an antique Oriental rug . If these scenes studied in ...
... scene seems also to indicate that Shakespeare's complex rhetoric is no matter of mere un- tutored genius , but rather a deliberately woven pattern like that in the fine texture of an antique Oriental rug . If these scenes studied in ...
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