The Mirror-technique in Senecan and Pre-Shakespearean TragedyFrancke, 1975 - 162 Seiten |
Im Buch
Ergebnisse 1-3 von 26
Seite 13
... behaviour . The change in her speech from direct address to objective description is abrupt . She suddenly loses her identity as a character in the play and becomes a mouthpiece of Seneca's . Thereby the dramatic illusion is broken ; at ...
... behaviour . The change in her speech from direct address to objective description is abrupt . She suddenly loses her identity as a character in the play and becomes a mouthpiece of Seneca's . Thereby the dramatic illusion is broken ; at ...
Seite 19
... behaviour of his interlocutors . Then he addresses them , asking them to stop crying and to speak their mind . Their silence makes him entreat with more urgent words . Re- alizing at last that he cannot prevail on them , he sums up ...
... behaviour of his interlocutors . Then he addresses them , asking them to stop crying and to speak their mind . Their silence makes him entreat with more urgent words . Re- alizing at last that he cannot prevail on them , he sums up ...
Seite 139
... behaviour at the parting demonstrates again his passion for the young man . " The relation between Edward and Gaveston is mirrored also by the nobles : Lancaster : Thus , arm in arm , the king and he doth march : ... Warwick : Thus ...
... behaviour at the parting demonstrates again his passion for the young man . " The relation between Edward and Gaveston is mirrored also by the nobles : Lancaster : Thus , arm in arm , the king and he doth march : ... Warwick : Thus ...
Inhalt
Introduction | 7 |
B The MirrorPassages within the Scene | 14 |
The WordScenery | 33 |
Urheberrecht | |
5 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
Abigail action appears arms Barabas beginning behaviour blood body character comes condition contains crown death described direct dramatic Edward effect elements Elizabethan emotion Enter entrances event exits expression eyes face fall fantasy father Faustus fear feeling figure Gaveston gestic gesture gives grief hand head heaven hell Hercules Hieronimo Hippolytus Horatio imaginary imagination important impulse inner introduced Isabella kind king later looks lord manner Marlowe Mathias means mentioned Mephistopheles MICHIGAN mirror-passages mirror-technique mirrored mood Mortimer murder night objective occurs passage passion performance person physical play present references reflexive revenge says scene Senecan shows sight situation soul speak speech stage stage-direction stands subjective suggest symbolic Tamburlaine tears technique tell thee thou traditional tragedy transitive turn UNIVERSITY utters vision visual word-scenery