Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Bände 1-25;Band 154Laurie Lanzen Harris, Mark Scott Gale Research Company, 1986 - 680 Seiten "Volumes 1 through 10 of the series present a unique historical overview of the critical response to each Shakespearean work, representing a broad range of interpretations. Volumes 11 through 26 recount the performance history of Shakespeare's plays on th stage and screen through eyewitness reviews and retrospective evaluations of individual productions, comparisons of major interpretations, and discussions of staging issues. Beginning with Volume 27 in the series, SC focuses on criticism published after 1960, with a view to providing the reader with the most significant modern critical approaches. Each of these volumes is organized around a theme that is central to the study of Shakespeare, such as politics, religion, or sexuality." [Scope of the Series note, vol. 37.] |
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Seite 146
... lines are apothegmatic , and the success achieved in keeping Henry sounding human results largely from the near total ab- sence of the sententious in his lines . But his few moral pro- nouncements are important . Henry's lines here are ...
... lines are apothegmatic , and the success achieved in keeping Henry sounding human results largely from the near total ab- sence of the sententious in his lines . But his few moral pro- nouncements are important . Henry's lines here are ...
Seite 294
... lines : BAN . FLE . BAN . FLE . BAN . How goest the night , boy ? The moon is down ; I have not heard the clock . And she goes down at twelve . I take ' t , ' tis later , sir . Hold , take my sword . There's husbandry in heaven : [ II ...
... lines : BAN . FLE . BAN . FLE . BAN . How goest the night , boy ? The moon is down ; I have not heard the clock . And she goes down at twelve . I take ' t , ' tis later , sir . Hold , take my sword . There's husbandry in heaven : [ II ...
Seite 633
... lines to ask Agamemnon for permission to address the Greek council [ I. iii . 54-69 ] ; Aeneas and Agamemnon struggle for no fewer than forty - two lines simply to make initial contact with each other [ I. iii . 215-56 ] ; Pandarus ...
... lines to ask Agamemnon for permission to address the Greek council [ I. iii . 54-69 ] ; Aeneas and Agamemnon struggle for no fewer than forty - two lines simply to make initial contact with each other [ I. iii . 215-56 ] ; Pandarus ...
Inhalt
Preface | 7 |
Henry VI Parts 1 2 and 3 11 | 163 |
A Midsummer Nights Dream | 356 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
A. C. Bradley action ambition appears argues audience Banquo becomes beth blood Cade character chronicle contrast crime critics crown darkness death deed dramatic dramatist Duke E. M. W. Tillyard Edward England English essay date evil excerpt fairies father fear feel forces French Gervinus Gloucester Hamlet hand Henry VI plays Henry VI trilogy Henry's Hermann Ulrici hero horror house of York human imagery images imagination innocent Jack Cade Joan killed King Henry Lady Macbeth Lear Macduff Malcolm Margaret Midsummer Night's Dream mind moral murder of Duncan nature night noble passage pity play's plot poet poetic poetry political present Queen Richard Richard III scene sense Shake Shakespeare Shakspere sleep soliloquy soul speare speare's speech spirit Suffolk suggested supernatural symbol Talbot theme Theseus thou thought throne tragedy tragic Warwick Weird Sisters whole wife William Shakespeare Wilson Knight witches words York York's