Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 40Gale Research Company, 1984 |
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Seite 129
... never see Antonio do any- thing mercantile except negotiate a naive deal with Shylock , and we hear only that he never charges inter- est on his many loans . In the real Venice , it is true , " signiors and rich burghers " were the same ...
... never see Antonio do any- thing mercantile except negotiate a naive deal with Shylock , and we hear only that he never charges inter- est on his many loans . In the real Venice , it is true , " signiors and rich burghers " were the same ...
Seite 169
... never trained / To offices of tender courtesy . " When Shylock refuses to give a " firm reason " why he is being so brutal to Antonio except a nonrational " certain loathing , " Bassanio breaks out , " This is no answer , thou unfeeling ...
... never trained / To offices of tender courtesy . " When Shylock refuses to give a " firm reason " why he is being so brutal to Antonio except a nonrational " certain loathing , " Bassanio breaks out , " This is no answer , thou unfeeling ...
Seite 341
... never been able to acknowledge the fundamental similarity , even identity , of tragic antagonists ; it fab- ricates differences where there are none . Mimetic ri- valry alone goes to the heart of the question . When Aristotle defines ...
... never been able to acknowledge the fundamental similarity , even identity , of tragic antagonists ; it fab- ricates differences where there are none . Mimetic ri- valry alone goes to the heart of the question . When Aristotle defines ...
Inhalt
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
Antonio Antony and Cleopatra Antony's Arden argues audience Bassanio Belmont bond boy actor casket characters choice Christian circumcision comic conventional Coppélia Coriolanus Cressida critics Dark Lady daughter death desire dramatic Duke Elizabethan essay father fear female feminine feminist flesh friendship Ganymede gender Geneva Bible genre Gentlemen of Verona give Gratiano hath hero heroines husband identity ideology Jessica Jewish London Lorenzo lover Macbeth male disguise marriage masculine means Merchant of Venice moral mother Nerissa Olivia Orlando Orsino Othello passion play's plot poems poet poetic Portia relationship Renaissance rhetorical ring role Roman Rosalind says seems sense sequence sexual Shake Shakespeare Shakespeare's plays Shakespeare's Sonnets Shakespearean comedy Shylock social Sonnet 20 speare's speech spirit suggests sweet theatrical thee thou tion tragedy tragic tragicomedies trans trial scene Twelfth Night University Press usury Venetian Viola wife woman women words York young