William Shakespeare, King LearSusan Bruce Columbia University Press, 1998 - 192 Seiten This Critical Guide helps students sift through and make sense of nearly three centuries of Lear criticism, providing insight into different assessments of the play's merit and its place within Shakespeare's work and the canon of English literature. Highlights include excerpts from the neoclassical and Romantic receptions of King Lear -- material from John Dryden, Samuel Johnson, Samuel Taylor Coleridge, and Victor Hugo -- and a discussion of recent and current trends in criticism of the play. |
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... Fool , and those of his Romantic peers . Part One of this chapter ( p . 89 ) covers ' Character Criticism and the Redemption of King Lear ' : A. C. Bradley's account of the play , still influential amongst students of English Literature ...
... Fool , and those of his Romantic peers . Part One of this chapter ( p . 89 ) covers ' Character Criticism and the Redemption of King Lear ' : A. C. Bradley's account of the play , still influential amongst students of English Literature ...
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... Fool , for instance , has been argued to be different in the two texts , as have those of Albany , of Edgar , and of Kent.3 But due to a widely held editorial conviction that nothing written , or probably written , by Shakespeare ...
... Fool , for instance , has been argued to be different in the two texts , as have those of Albany , of Edgar , and of Kent.3 But due to a widely held editorial conviction that nothing written , or probably written , by Shakespeare ...
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... mid - nineteenth century ( the tragic ending was restored in 1823 , but the Fool did not reappear until 1838 ) . King Lear , in other words , was not staged in anything like its original form for more than 11 INTRODUCTION.
... mid - nineteenth century ( the tragic ending was restored in 1823 , but the Fool did not reappear until 1838 ) . King Lear , in other words , was not staged in anything like its original form for more than 11 INTRODUCTION.
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Inhalt
NeoClassicism | 15 |
Romanticism | 48 |
Realism | 83 |
From Christianity to Chaos | 116 |
Contemporary Criticism of King Lear | 149 |
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A.C. Bradley action aesthetic argues attack audience blind Bradley Bradley's Brian Vickers century chapter character clown conception Coppélia Cordelia Cornwall daughters death Dickens Dover drama Edgar edition Edmund effect Empson essay express extract eyes father feeling feudal Foakes Fool Freud Garrick Gervinus Gloster Gloucester Gloucester's gods Goneril Guizot Hamlet heart historical Hugo human illusion Kent kind King Lear Kott L. C. Knights literary London mind moral motives nature Neo-Classical Orwell Oswald passion person play's poet poetic justice question reading of King reason renunciation representation represented reprinted role Romantic scene Schlegel seems sense Shakespeare Shakespeare Our Contemporary Shakespeare's plays Shakespearean tragedy social soul speak spectator speech stage suffering Swinburne Tate Tate's adaptation Tate's Lear theme theory thing thou tion Tolstoy Tolstoy's tragic unity universal Vickers Wheel of Fire whole William Shakespeare Wilson Knight women words writing