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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Seite 5
... Audience to a full Compassion of the King's Misfortunes , to give a finishing stroke to that Passion he makes his Sorrows to have turn'd his Brain . In which Madness ... Shakespeare has wrought with such Spirit and so true a Knowledge ...
... Audience to a full Compassion of the King's Misfortunes , to give a finishing stroke to that Passion he makes his Sorrows to have turn'd his Brain . In which Madness ... Shakespeare has wrought with such Spirit and so true a Knowledge ...
Seite 6
... audience . All of Shakespeare's works were produced in various editions in the late sixteenth and early seven- teenth centuries , generally in at least one Quarto version of the individual play , as well as in the 1623 Folio , which ...
... audience . All of Shakespeare's works were produced in various editions in the late sixteenth and early seven- teenth centuries , generally in at least one Quarto version of the individual play , as well as in the 1623 Folio , which ...
Seite 8
... audience can see for itself that there are now at least two texts of King Lear : Hunter's and Urkowitz ' . The debate itself demon- strates that Shakespeare's text is a contested site , that what we read must be decided by the likes of ...
... audience can see for itself that there are now at least two texts of King Lear : Hunter's and Urkowitz ' . The debate itself demon- strates that Shakespeare's text is a contested site , that what we read must be decided by the likes of ...
Seite 10
... audience for such writ- ing was the student and the scholar . More recently , coexistent with an ever increasing pressure within the academic world to increased special- isation ( academics now specialise in a given period , such as ...
... audience for such writ- ing was the student and the scholar . More recently , coexistent with an ever increasing pressure within the academic world to increased special- isation ( academics now specialise in a given period , such as ...
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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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Häufige Begriffe und Wortgruppen
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