Shakespeare's Tragic SequenceRoutledge, 11 жовт. 2013 р. - 216 стор. First published in 1972. The emphasis of this book is that each of Shakespeare's tragedies demanded its own individual form and that although certain themes run through most of the tragedies, nearly all critics refrain from the attempt to apply external rules to them. The plays are almost always concerned with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval idea of the reversal of fortune. |
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Сторінка 13
... Edgar and Cordelia, or Coriolanus' overComing of hatred, may indeed represent glorious good; but when the 'delicate and tender prince', Fortinbras, succeeds Hamlet, or when we see the 'tragic loading' of Desdemona's bed or the sombre ...
... Edgar and Cordelia, or Coriolanus' overComing of hatred, may indeed represent glorious good; but when the 'delicate and tender prince', Fortinbras, succeeds Hamlet, or when we see the 'tragic loading' of Desdemona's bed or the sombre ...
Сторінка 14
... Edgar has 'a touch of his father's pleasant vices', and that Cordelia is self-righteous. Professor Battenhouse turns Shakespeare into a rather puritanical moralist, which to believe of him, as the King of France says of Cordelia Must be ...
... Edgar has 'a touch of his father's pleasant vices', and that Cordelia is self-righteous. Professor Battenhouse turns Shakespeare into a rather puritanical moralist, which to believe of him, as the King of France says of Cordelia Must be ...
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Зміст
9 | |
11 | |
20 | |
3 Julius Caesar
| 42 |
4 Hamlet
| 55 |
5 Othello
| 93 |
6 King Lear
| 117 |
7 Macbeth
| 142 |
8 Antony and Cleopatra
| 156 |
9 Coriolanus
| 172 |
10 Timon of Athens
| 187 |
Notes
| 197 |
Index | 205 |
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Загальні терміни та фрази
action Antony Antony and Cleopatra Antony’s argued audience avenger Banquo behaviour Bradley Brutus Caesar Cassius character Claudius Claudius’s Cleopatra Coleridge confesses conflict conscience contrast Cordelia Coriolanus critics death declares deed Desdemona devil difficult dramatist Edgar Elizabethan evil father fear figure final finally find first scene fit flatterers flesh fool Gertrude Ghost Gloucester gods Goneril Guildenstern guilty Hamlet hates hath heart heaven Horatio horror Iago Iago’s imagery images influence jealous Juliet kill King Lear King’s L. C. Knights Laertes Lear’s lovers man’s Menenius merely mind moral mother murder nature night noble Ophelia Othello passion play Plutarch poet Polonius Professor Queen realise reflection regarded revealed revenge Richard Roderigo Romeo Rosencrantz sacrifice says Shakespeare significant soliloquy soul speaks speech spirit suggested suicide tells thee There’s thou thought Timon Timon of Athens Titus Andronicus tragedy tragic hero villain virtue wife Wilson Knight words