Shakespearean CriticismCengage Gale, 2001 - 448 Seiten Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Seite 299
... Bastard is silent but his education has now truly begun , as comes clear when he is left alone at the end of the scene . In his well - known soliloquy - ' Mad world ! mad kings ! mad composition ! ' ( 561 ) -with new insight , he gives ...
... Bastard is silent but his education has now truly begun , as comes clear when he is left alone at the end of the scene . In his well - known soliloquy - ' Mad world ! mad kings ! mad composition ! ' ( 561 ) -with new insight , he gives ...
Seite 301
... Bastard's suspicions cannot but increase when the invitation is not accepted . John instead claims ambiguously , ' I have a way to win their loves again ' ( 168 ) , and sends the Bastard to bring them back . His first response is merely ...
... Bastard's suspicions cannot but increase when the invitation is not accepted . John instead claims ambiguously , ' I have a way to win their loves again ' ( 168 ) , and sends the Bastard to bring them back . His first response is merely ...
Seite 302
... Bastard's reaction is the appropriate one for any conscientious man : ' I am amaz'd , methinks , and lose my way Among the thorns and dangers of this world ' ( 140- 41 ) . The moral life is never , for a perceptive man , a simple choice ...
... Bastard's reaction is the appropriate one for any conscientious man : ' I am amaz'd , methinks , and lose my way Among the thorns and dangers of this world ' ( 140- 41 ) . The moral life is never , for a perceptive man , a simple choice ...
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Häufige Begriffe und Wortgruppen
allusions Antony and Cleopatra Arthur audience Bastard becomes body characters Christian claim Claudius comedy Cordelia Coriolanus critics cultural dead death desire dramatic dying Elizabethan England English erotic essay Falstaff father final scene gender goddess Hamlet hath Henry Henry VI Hercules hero heterosexual homoerotic homoeroticism homosexual Hotspur human imagination Ixion James Juliet Juno King John King Lear Lear's London lovers Macbeth male marriage Mars medieval Midsummer Night's Dream mimetic moral murder myth mythical mythology nature Olivia Orsino Othello Ovid Ovid's play's plot political Pygmalion Queen Renaissance Richard Richard III ritual role Roman Romeo says seems sense sexual Shake Shakespeare Shakespeare's play sion sleep social sodomy Sonnet 20 sonnets soul speare's speech stage story succession suggests symbolic Talbot theatrical thee Theseus thou throne Timon tion tragedy tragic Twelfth Night University Press Viola Winter's Tale women words York