Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 28Gale Research Company, 1984 |
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Seite 87
... gives herself away both allows the play to end and poses a number of difficulties about what kind of action this troped or doubled self can take . Rosalind reenters the scene with Hymen , and immediately turns to her father and says ...
... gives herself away both allows the play to end and poses a number of difficulties about what kind of action this troped or doubled self can take . Rosalind reenters the scene with Hymen , and immediately turns to her father and says ...
Seite 127
... gives way : that the past may return , that the dead are indeed alive , that historic heroism may replace the feminine chaos and de- cay that are the audience's more recent memory — both their memory of what has happened in ...
... gives way : that the past may return , that the dead are indeed alive , that historic heroism may replace the feminine chaos and de- cay that are the audience's more recent memory — both their memory of what has happened in ...
Seite 305
... give a stabbe or two , if need require ? " ( 15.1210-11 ) . The messenger gives his enthusiastic assent and when left alone adds a comment very much in keeping with the occasion- al and crude sexual humor of the play : Why , heres a ...
... give a stabbe or two , if need require ? " ( 15.1210-11 ) . The messenger gives his enthusiastic assent and when left alone adds a comment very much in keeping with the occasion- al and crude sexual humor of the play : Why , heres a ...
Inhalt
Texts and Revels in Twelfth Night | 13 |
Lynda E Boose The Taming of the Shrew Good Husbandry and Enclosure | 21 |
Juliet Dusinberre As Who Liked It? | 31 |
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action Adonis appears argued audience become Caliban Cambridge character Claudius comedy comic context court critical cultural Cymbeline death Desdemona desire discourse dramatic early modern Elizabeth Elizabethan England English essay Essex Falstaff father female festive figure gender Hamlet Harington hath Henry Henry IV plays Henry's human Iago imagination Ireland Irish Isabella James John King Lear language Leir lines London Lord lover Macbeth male marriage means Measure for Measure ment Merchant of Venice misogyny narrative nature Othello Oxford peare peare's performance Petrarch platea play's plot poems political popular Procris prose Prospero Queen Renaissance revenge rhetoric Richard Richard II role Rosalind royal secret seems sense sexual Shakes Shakespeare social Sonnets speak Speech Acts stage story suggests theater theatrical thou tion tragedy tragic Univ University Press utterance Venice Venus verse woman women words York