Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 34Gale Research Company, 1984 |
Im Buch
Ergebnisse 1-3 von 35
Seite 139
... expression . They lack the feigning force that crosses all boundaries and alone is able to picture unrestrained desire . Instead , Orlando subjugates his passion to cen- sorship practiced by the Petrarchan love code , with the result ...
... expression . They lack the feigning force that crosses all boundaries and alone is able to picture unrestrained desire . Instead , Orlando subjugates his passion to cen- sorship practiced by the Petrarchan love code , with the result ...
Seite 142
... expression . If expression is made possible by the fictionalization of the code , then the code itself must be outstripped by something which in turn does not have a form specific to any code . Outstripping the code testifies to the ...
... expression . If expression is made possible by the fictionalization of the code , then the code itself must be outstripped by something which in turn does not have a form specific to any code . Outstripping the code testifies to the ...
Seite 175
... expression , as opposed to pas- sive and " feminine " emotional expression . Celia is speaking of Rosalind's wit when she ( wittily ) says , " You have simply misused our sex in your love prate . And Orlando says , " A man that had a ...
... expression , as opposed to pas- sive and " feminine " emotional expression . Celia is speaking of Rosalind's wit when she ( wittily ) says , " You have simply misused our sex in your love prate . And Orlando says , " A man that had a ...
Inhalt
Appearance vs Reality | 1 |
As You Like | 71 |
The Comedy of Errors | 190 |
Urheberrecht | |
1 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
actor Adonis Adriana ambiguity androgynous Angelo audience Audrey becomes Bellario brother Celia characters Clown Comedy of Errors comic conventional Coppélia Corin court courtly critical desire dialogue discourse double meaning dramatic Dromio Duke Frederick Duke Senior Duke's Egeon Elizabethan Ephesus ethos father feigning female Feste figure final folly fool Forest of Arden Ganymede gender genre hath Helena husband identity Isabella Jaques language literary lovers Luciana male Malvolio marriage Measure for Measure metonymic Midsummer Night's Dream moral nature ocular proof Oliver Olivia Orlando Orsino paradox passion pastoral Phebe Philaster play's plot poetry political reality relationship Renaissance reveals rhetoric role romantic Rosalind says scene seems sense sexual disguise Shakespeare Shakespearean comedy shepherd Silvius social speak speech stage structure suggests theme thou tion Touchstone Touchstone's tradition truth Twelfth Night Univ University Press Venus Venus and Adonis Viola wife woman women words