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 50
... tells the audience : When on my three - foot stool I sit and tell The warlike feats I have done , his spirits fly out Into my story ; say , " Thus mine enemy fell , And thus I set my foot on ' s neck , " even then The princely blood ...
... tells the audience : When on my three - foot stool I sit and tell The warlike feats I have done , his spirits fly out Into my story ; say , " Thus mine enemy fell , And thus I set my foot on ' s neck , " even then The princely blood ...
Seite 284
... tells " Cesario " that she is like to be " much advanc'd , " that Orsino is by nature constant in his favors ; and with these felicitations , he seems to drop out of the play as if his task as unsuccessful intermediary had quite ...
... tells " Cesario " that she is like to be " much advanc'd , " that Orsino is by nature constant in his favors ; and with these felicitations , he seems to drop out of the play as if his task as unsuccessful intermediary had quite ...
Seite 324
... tells Viola , ' What great ones do , the less will prattle of , ' that the types of behaviour reflected here were not exclusively the property of the great ; while the great had established the game , the game itself was known through ...
... tells Viola , ' What great ones do , the less will prattle of , ' that the types of behaviour reflected here were not exclusively the property of the great ; while the great had established the game , the game itself was known through ...
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