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 86
... play . Antony and Cleopatra constantly insists on its status as a play : characters stage emotions and accuse one another of bad acting ; the pattern of framing suggests that we see the central figures as actors in a play within the play ...
... play . Antony and Cleopatra constantly insists on its status as a play : characters stage emotions and accuse one another of bad acting ; the pattern of framing suggests that we see the central figures as actors in a play within the play ...
Seite 149
... play first dominated by tragedy and later by comedy , maintaining that the movement of the play from tragedy to comedy parallels the movement within the play from Rome to Egypt . ] yet the Alexandrians were commonly glad of this jolity ...
... play first dominated by tragedy and later by comedy , maintaining that the movement of the play from tragedy to comedy parallels the movement within the play from Rome to Egypt . ] yet the Alexandrians were commonly glad of this jolity ...
Seite 308
... play's sources as well as its individual merits . Specifically , emphasis has been placed on the play's setting and connection to Eliza- bethan society , Falstaff's role as scapegoat , and on the issues of disguise and deception ...
... play's sources as well as its individual merits . Specifically , emphasis has been placed on the play's setting and connection to Eliza- bethan society , Falstaff's role as scapegoat , and on the issues of disguise and deception ...
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