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 |
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Seite 36
... later recast into dramatically superior Q2 form , ' or ' not authorial.'74 These claims need to be reconsid- ered in view of the later ending's overt rejection of the conventional romance conclusion . In re - marking its later deviation ...
... later recast into dramatically superior Q2 form , ' or ' not authorial.'74 These claims need to be reconsid- ered in view of the later ending's overt rejection of the conventional romance conclusion . In re - marking its later deviation ...
Seite 193
... later the two are loose again , as it seems , with swords drawn , driving away all comers . Then suddenly , after this release of passion , the tone changes : the Abbess and the Duke , with aged Egeon , take over the stage , figures of ...
... later the two are loose again , as it seems , with swords drawn , driving away all comers . Then suddenly , after this release of passion , the tone changes : the Abbess and the Duke , with aged Egeon , take over the stage , figures of ...
Seite 283
... later explains to Orsino , the First Officer has fought against Antonio , this functionary now , perhaps due to times of peace or his advancing age , is a municipal officer in Illyria : " What's that to us ? The time goes by - away ...
... later explains to Orsino , the First Officer has fought against Antonio , this functionary now , perhaps due to times of peace or his advancing age , is a municipal officer in Illyria : " What's that to us ? The time goes by - away ...
Inhalt
Appearance vs Reality | 1 |
As You Like | 71 |
The Comedy of Errors | 190 |
Urheberrecht | |
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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