Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, MacbethLitres, 02.12.2021 |
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... beginning at page 89. Any one who writes on Shakespeare must owe much to his predecessors. Where I was conscious of a particular obligation, I have acknowledged it; but most of my reading of Shakespearean criticism was done many years ...
... beginning at page 89. Any one who writes on Shakespeare must owe much to his predecessors. Where I was conscious of a particular obligation, I have acknowledged it; but most of my reading of Shakespearean criticism was done many years ...
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... beginning we see him in the Council-Chamber of the Senate. The consciousness of his high position never leaves him. At the end, when he is determined to live no longer, he is as anxious as Hamlet not to be misjudged by the great world ...
... beginning we see him in the Council-Chamber of the Senate. The consciousness of his high position never leaves him. At the end, when he is determined to live no longer, he is as anxious as Hamlet not to be misjudged by the great world ...
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... beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the ...
... beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the ...
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... beginning of the play, though the conflict has not arisen, things are happening and being done which in some degree arrest, startle, and excite; and in a few scenes we have mastered the situation of affairs without perceiving the ...
... beginning of the play, though the conflict has not arisen, things are happening and being done which in some degree arrest, startle, and excite; and in a few scenes we have mastered the situation of affairs without perceiving the ...
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... beginning of Macbeth than that of King Lear. The tone is pitched so low that the conversation between Kent, Gloster, and Edmund is written in prose. But at the thirty-fourth line it is broken off by the entrance of Lear and his court ...
... beginning of Macbeth than that of King Lear. The tone is pitched so low that the conversation between Kent, Gloster, and Edmund is written in prose. But at the thirty-fourth line it is broken off by the entrance of Lear and his court ...
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action answer appears Back beginning believe called Cassio cause certainly character comes considered Cordelia course critics death deed Desdemona doubt drama effect evidently evil expression fact fate father fear feel follows force further Ghost give Goneril Hamlet hand heart hero human Iago Iago's idea imagination impression interest Kent kind King Lear Lady later least leave less letter lines live look Macbeth matter means mere merely mind murder nature never Note observe once Ophelia Othello passage passion perhaps persons play possible present probably question reader reason refer regard remember scene seems seen sense Shakespeare simply soliloquy soul speak speech stage story suffering suggest suppose surely tell things thou thought tragedy tragic true truth turn whole