Shakespearean Tragedy: Hamlet, Othello, King Lear, MacbethFawcett Publications, 1965 - 432 Seiten This centenary edition features a new Introduction by Robert Shaughnessy that places Bradley's work in the critical, intellectual and cultural context of its time. Shaughnessy summarises the content and argumentative thrust of the book, outlines the critical debates and counter-arguments that have followed in the wake of its publication and, most importantly, prompts readers to engage with Bradley's work itself. Book jacket. |
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Seite 25
... force , but comparatively little with himself , are all early plays . If we are to include the outer and the inner struggle in a conception more definite than that of conflict in general , we must employ some such phrase as " spiritual ...
... force , but comparatively little with himself , are all early plays . If we are to include the outer and the inner struggle in a conception more definite than that of conflict in general , we must employ some such phrase as " spiritual ...
Seite 26
... force . In almost all we observe a marked one - sided- ness , a predisposition in some particular direction ; a total 8 I have given names to the " spiritual forces " in Macbeth merely to illustrate the idea , and without any pretension ...
... force . In almost all we observe a marked one - sided- ness , a predisposition in some particular direction ; a total 8 I have given names to the " spiritual forces " in Macbeth merely to illustrate the idea , and without any pretension ...
Seite 192
... force which , liberated by his resentment at Cassio's promotion , drives Iago from inactivity into action , and sustains him through it . And , to pass to a new point , this force com- pletely possesses him ; it is his fate . It is like ...
... force which , liberated by his resentment at Cassio's promotion , drives Iago from inactivity into action , and sustains him through it . And , to pass to a new point , this force com- pletely possesses him ; it is his fate . It is like ...
Inhalt
INTRODUCTION | xi |
LECTURE III | 70 |
LECTURE IV | 110 |
Urheberrecht | |
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action Albany answer Antony and Cleopatra appears Banquo believe blood Cassio catastrophe cause character conflict Cordelia Coriolanus critics Cymbeline death deed Desdemona doubt drama Duncan Edgar Edmund effect Emilia evil fact fate father fear feel follows fool force Ghost Gloster Goneril Hamlet heart heaven hero Horatio horror husband Iago Iago's idea imagination impression Julius Caesar Kent King Lear Lady Macbeth Laertes Lear's less lines Macduff madness means melancholy merely mind moral murder nature never once Ophelia Othello pain passage passion perhaps persons pity play scene plot Polonius probably question reader reason refer Regan regard Richard III Romeo seems sense Shake Shakespeare Shakespearean tragedy soliloquy soul speak speare's speech stage story suppose surely thee things thou thought Timon tion Titus Andronicus tragedy tragic Troilus and Cressida truth whole wife Witches words