The Mirror-technique in Senecan and Pre-Shakespearean TragedyFrancke, 1975 - 162 Seiten |
Im Buch
Ergebnisse 1-3 von 83
Seite 21
... passage can express primarily the speaker's inner feelings . Seneca generally respects this difference , though he is not always consistent : we have found the remark " faintness dulls his vision " in a transitive passage . With regard ...
... passage can express primarily the speaker's inner feelings . Seneca generally respects this difference , though he is not always consistent : we have found the remark " faintness dulls his vision " in a transitive passage . With regard ...
Seite 39
... passage is explanatory.18 The only visual element in it is the reference to haste , which , in its isolation , has little force . The following passage by Sackville is different : Gorboduc : ... But what doth meane The sory chere of her ...
... passage is explanatory.18 The only visual element in it is the reference to haste , which , in its isolation , has little force . The following passage by Sackville is different : Gorboduc : ... But what doth meane The sory chere of her ...
Seite 67
... passage occurs in Villuppo's false accusation of Alexandro : Villuppo : Till Alexandro , that here counterfeits Under the colour of a duteous friend , II I. iii . 65 The mirror - passage is highly subjective . The villain Villuppo ...
... passage occurs in Villuppo's false accusation of Alexandro : Villuppo : Till Alexandro , that here counterfeits Under the colour of a duteous friend , II I. iii . 65 The mirror - passage is highly subjective . The villain Villuppo ...
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