Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 29Gale Research Company, 1984 - 421 Seiten This detailed series provides comprehensive coverage of critical interpretations of the plays of Shakespeare. Volumes 27-56 focus on criticism published after 1960 and provide readers with thematic approaches to Shakespeare's works. The plays, theme or focus of this volume include: Magic and the supernatural, Macbeth, A midsummer night's dream, and The tempest. - Publisher. |
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Seite 144
... turn and say , ' But what do you expect ? ' And as long as we do not say that , we have not shifted to the posture invited by melodrama and morality play . At the banquet scene the courtesy and breeding of the host and hostess hardly ...
... turn and say , ' But what do you expect ? ' And as long as we do not say that , we have not shifted to the posture invited by melodrama and morality play . At the banquet scene the courtesy and breeding of the host and hostess hardly ...
Seite 211
... turning potentially tragic events into comedy , just as on the human level Peter Quince's amateur theatrical company manages to turn the tragic story of Pyramus and Thisbe into " very tragical mirth . " It is surely significant that the ...
... turning potentially tragic events into comedy , just as on the human level Peter Quince's amateur theatrical company manages to turn the tragic story of Pyramus and Thisbe into " very tragical mirth . " It is surely significant that the ...
Seite 239
... turn through a common pattern , an evolution that seems to have an impersonal power of its own . The time comes when the antagonists literally no longer know who they are : " Am I not Hermia ? Are you not Lysander ? " ( III.ii.273 ) ...
... turn through a common pattern , an evolution that seems to have an impersonal power of its own . The time comes when the antagonists literally no longer know who they are : " Am I not Hermia ? Are you not Lysander ? " ( III.ii.273 ) ...
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action actors Aeneas Aeneid Alonso Antonio appear Ariel audience Banquo become believe Caliban called Ceres character comedy critics death deed Demetrius demons described desire devil Dido dramatic Duncan effect Egeus Elizabethan England English essay date evil eyes fact fairies father fear feel Ferdinand figure ghost give Gonzalo hand Helena Hermia Hippolyta human imagination island kind King Lady Macbeth lines lovers Lysander Macduff magic magician marriage masque means Midsummer Night's Dream mind Miranda moral mother murder nature neoplatonic never Oberon occult Ovid Paracelsus peare's performance perhaps play play's plot Prospero Puck Queen question Renaissance role romance scene Sebastian seems sense sexual Shakes Shakespeare sleep speak speech spirits stage story suggests supernatural Sycorax symbolic Tempest theatrical thee Theseus things thou thought tion Titania tradition tragedy tragic vision Weird Sisters wife witchcraft witches woman women words