Shakespearean CriticismMichelle Lee Cengage Gale, 1999 - 420 Seiten Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Seite 144
... become part of our play , rather than a necessary failure of art , the falling short it may other- wise seem to be . Theatrical spectating requires us to see in much the way that Antony sees Cleopatra : Whom every thing becomes , to ...
... become part of our play , rather than a necessary failure of art , the falling short it may other- wise seem to be . Theatrical spectating requires us to see in much the way that Antony sees Cleopatra : Whom every thing becomes , to ...
Seite 155
... becomes the reverse of pleasurable : " The present pleasure , / By revolution lowering , does become / The opposite of itself " ( I. ii . 121-23 ) . When Antony returns to Rome and works at eliminating all things Egyptian from his life ...
... becomes the reverse of pleasurable : " The present pleasure , / By revolution lowering , does become / The opposite of itself " ( I. ii . 121-23 ) . When Antony returns to Rome and works at eliminating all things Egyptian from his life ...
Seite 214
... becomes a Dido and a Hecuba ! Posthumus , oddest of all , becomes both a Christ figure and a Ju- das ; in the former capacity building her faith on the scriptures : in the latter corrupting that faith to heresy by being a traitor . The ...
... becomes a Dido and a Hecuba ! Posthumus , oddest of all , becomes both a Christ figure and a Ju- das ; in the former capacity building her faith on the scriptures : in the latter corrupting that faith to heresy by being a traitor . The ...
Inhalt
Deception in Shakespeares Plays | 1 |
Antony and Cleopatra | 70 |
Cymbeline | 205 |
Urheberrecht | |
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action actor Antony and Cleopatra Antony's appears audience becomes Caesar Caius character Cleo Cloten comedy comic critics Cymbeline Cymbeline's death desire disguise dramatic dream Egypt Elizabethan Enobarbus Falstaff father female fiction final Ford Ford's Garter genre Guiderius Hal's Hamlet hath Henry Henry IV Herne the Hunter hero heroine honor husband Iachimo identity imagination Imogen Jack-a-Lent King King Lear knight Lear London lovers Macbeth male marriage Merry Wives Mistress moral nature noble Nosworthy Octavius Othello patra Pisanio play's plot political Pompey Posthumus Posthumus's Prince protagonists queen Renaissance rhetorical Richard Richard III role Roman Rome Romeo and Juliet says scene seems sense sexual Shake Shakespeare speaks speare speare's speech stage suggests theatrical thee theme thou tion tragedy tragic truth Univ University Press vision wager wife Windsor Winter's Tale witch Wives of Windsor woman women words York