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 281
... wager between idealistic lover and cynic , we know , is not only untrue ; it is a perfect inversion of the truth . This slanderer uses Iago's techniques , feigning reluctance to bring bad news so that Imogen must ask , “ discover to me ...
... wager between idealistic lover and cynic , we know , is not only untrue ; it is a perfect inversion of the truth . This slanderer uses Iago's techniques , feigning reluctance to bring bad news so that Imogen must ask , “ discover to me ...
Seite 282
... wager , takes it upon himself to befriend Denise . He rides for six straight days to warn her that her husband intends to kill her . When she asks , “ pour quoy ? " qu'ay je meffait ? / Scez tu , amis ? " ( 986-87 ) , he tells her the ...
... wager , takes it upon himself to befriend Denise . He rides for six straight days to warn her that her husband intends to kill her . When she asks , “ pour quoy ? " qu'ay je meffait ? / Scez tu , amis ? " ( 986-87 ) , he tells her the ...
Seite 285
... wager scene is too realistic to fit perfectly the part of the penitent in Act Five . Shakespeare used Boccaccio's starting mechanism because motive was not to matter especially in Cymbeline ; he departed from his prede- cessors in ...
... wager scene is too realistic to fit perfectly the part of the penitent in Act Five . Shakespeare used Boccaccio's starting mechanism because motive was not to matter especially in Cymbeline ; he departed from his prede- cessors in ...
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