Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 35Gale Research Company, 1984 |
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Seite 23
... accept it as marking a decisive break with sanity , Lillian Feder ( p . 132 [ cited in n . 21 , above ] ) and Paul Jorgensen ( p . 80 [ cited in n . 24 , above ] ) concur . The definitive- ness of Lear's delusion is emphasized by his ...
... accept it as marking a decisive break with sanity , Lillian Feder ( p . 132 [ cited in n . 21 , above ] ) and Paul Jorgensen ( p . 80 [ cited in n . 24 , above ] ) concur . The definitive- ness of Lear's delusion is emphasized by his ...
Seite 206
... accept everything he relates ? Does he really know whereof he speaks ? To the accuracy of his knowledge of the ... accept as true one part of the Ghost's speech , must we not accept the other also ? And do not the last three lines quoted ...
... accept everything he relates ? Does he really know whereof he speaks ? To the accuracy of his knowledge of the ... accept as true one part of the Ghost's speech , must we not accept the other also ? And do not the last three lines quoted ...
Seite 339
... accept it.17 That act of choice is not preceded by the judgment's rational selection of an end toward which the will is then directed , as the " accepted philosophy " taught . It is an act of pure freedom , directed from within ; the ...
... accept it.17 That act of choice is not preceded by the judgment's rational selection of an end toward which the will is then directed , as the " accepted philosophy " taught . It is an act of pure freedom , directed from within ; the ...
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A. C. Bradley action anger audience becomes behavior Brabantio Brutus Cassio cause character Claudius critics Cyprus death delusional jealousy demona Denmark Desdemona discourse divine double bind drama Elizabethan Emilia emotional essay date evil F. R. Leavis father feel Fortinbras Freud Gertrude Gertrude's Ghost grief guilt Hamlet handkerchief heaven hero Horatio human husband Iago Iago's ideal innocence jealous jealousy justice kill King Lear Laertes language Leontes lines London Macbeth madness marriage means melancholia melancholy ment mental mind Moor moral mother murder nature ness never noble Ophelia Othello passion person play play's plot Polonius Press Prince psychological Queen reason Renaissance represents revenge revenge tragedy Roderigo role Rosencrantz and Guildenstern says scene seems sense sexual Shake Shakespeare Shakespearean Tragedy soliloquy soul speaks speech stage suggests suicide superego thee thou tion tragedy tragic victim whore wife witchcraft witches woman women words York