Shakespearean Criticism, Band 78Presents 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 170
Harmonious charmingly " but , as these terms indicate , its effect is derived from modes of expression other than the verbal . When we consider , also , that though the text is one of the shortest , the play is as long as the others in ...
Harmonious charmingly " but , as these terms indicate , its effect is derived from modes of expression other than the verbal . When we consider , also , that though the text is one of the shortest , the play is as long as the others in ...
Seite 171
Prospero taught Caliban " how / To name " ( 1.ii.334-5 ) , and his description evokes the early Renaissance ideal of language as expression of the rational and civilized , with creative power analogous to that of the Word : When thou ...
Prospero taught Caliban " how / To name " ( 1.ii.334-5 ) , and his description evokes the early Renaissance ideal of language as expression of the rational and civilized , with creative power analogous to that of the Word : When thou ...
Seite 303
28 Shakespeare relates it to the human scene by making the expression of the something that is “ hurt ” in Timon strike a responsive chord in the something that is hurt , angry , or simply disappointed in all of us , and by making that ...
28 Shakespeare relates it to the human scene by making the expression of the something that is “ hurt ” in Timon strike a responsive chord in the something that is hurt , angry , or simply disappointed in all of us , and by making that ...
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Inhalt
King John | 1 |
Character Studies | 14 |
Production Reviews | 40 |
Urheberrecht | |
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action Angelo appears Arthur audience authority Bastard Beatrice becomes begins Benedick brother calls characters claim Claudio comedy comic concern course critical death desire directed Don John Duke effect Elizabethan England English essay expression fact father feelings female figure final friends give hand heart Henry Hero human interpretation Isabella John's kind King John language later Lear less lines live London lovers male marriage meaning Measure moral nature never notes once Pedro performance play play's plot political position present Press Prince production provides question relation remains represents response rhetoric Richard role says scene seems sense sexual Shake Shakespeare silence speak speech stage Studies suggests tells things thou Timon of Athens tion tragedy true turn University woman women York young