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 148
... live to be a man . Nerissa Ay , if a woman live to be a man . ( 5.1.158-60 ) Nerissa is exuberating in her own disguised participa- tion in the trial scene ; her jokes and Portia's break down the general identification of the Christians ...
... live to be a man . Nerissa Ay , if a woman live to be a man . ( 5.1.158-60 ) Nerissa is exuberating in her own disguised participa- tion in the trial scene ; her jokes and Portia's break down the general identification of the Christians ...
Seite 232
... live to execute the father . 10 Like the other sonnets in the opening group Sonnet 4 imposes a double allegiance upon the reader , primarily to the poet's exhortation to recognise higher values than mere existence , but , in- creasingly ...
... live to execute the father . 10 Like the other sonnets in the opening group Sonnet 4 imposes a double allegiance upon the reader , primarily to the poet's exhortation to recognise higher values than mere existence , but , in- creasingly ...
Seite 235
... live yourself in eyes of men . To give away yourself keeps yourself still , And you must live , drawn by your own sweet skill . In the act of denying poetry any power and insisting upon its inferiority to procreation the poet contrives ...
... live yourself in eyes of men . To give away yourself keeps yourself still , And you must live , drawn by your own sweet skill . In the act of denying poetry any power and insisting upon its inferiority to procreation the poet contrives ...
Inhalt
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Urheberrecht | |
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action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young