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 96
It is perhaps slightly less astonishing than hers , since we are rather more accustomed to rebellions and surprises in the behaviour of men . But the two protagonists are fairly evenly matched in their energy and in their attractiveness ...
It is perhaps slightly less astonishing than hers , since we are rather more accustomed to rebellions and surprises in the behaviour of men . But the two protagonists are fairly evenly matched in their energy and in their attractiveness ...
Seite 125
In the comedy all four attributes of honor come into play ; in the chronicle where the attributes of feminine honor are less relevant , the interest is centered on the attributes of masculine honor . additional indication that Troilus ...
In the comedy all four attributes of honor come into play ; in the chronicle where the attributes of feminine honor are less relevant , the interest is centered on the attributes of masculine honor . additional indication that Troilus ...
Seite 211
However , as Carol Thomas Neely reminds us in Broken Nuptials , “ We cannot fail to note the radical asymmetry and inequality of the comic reconciliation and wish for Kate . . . that choices were less limited , roles less rigid and ...
However , as Carol Thomas Neely reminds us in Broken Nuptials , “ We cannot fail to note the radical asymmetry and inequality of the comic reconciliation and wish for Kate . . . that choices were less limited , roles less rigid and ...
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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