Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, MacbethLitres, 02.12.2021 |
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... hand (whatever may be true of tragedy elsewhere), no play at the end of which the hero remains alive is, in the full Shakespearean sense, a tragedy; and we no longer class Troilus and Cressida or Cymbeline as such, as did the editors of ...
... hand (whatever may be true of tragedy elsewhere), no play at the end of which the hero remains alive is, in the full Shakespearean sense, a tragedy; and we no longer class Troilus and Cressida or Cymbeline as such, as did the editors of ...
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... hand, any large admission of chance into the tragic sequence4 would certainly weaken, and might destroy, the sense of the causal connection of character, deed, and catastrophe. And Shakespeare really uses it very sparingly. We seldom ...
... hand, any large admission of chance into the tragic sequence4 would certainly weaken, and might destroy, the sense of the causal connection of character, deed, and catastrophe. And Shakespeare really uses it very sparingly. We seldom ...
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... hand and foot. And it makes no difference whether they meant well or ill. No one could mean better than Brutus, but he contrives misery for his country and death for himself. No one could mean worse than Iago, and he too is caught in ...
... hand and foot. And it makes no difference whether they meant well or ill. No one could mean better than Brutus, but he contrives misery for his country and death for himself. No one could mean worse than Iago, and he too is caught in ...
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... hand, to notice what we do not find there. We find practically no trace of fatalism in its more primitive, crude and obvious forms. Nothing, again, makes us think of the actions and sufferings of the persons as somehow arbitrarily fixed ...
... hand, to notice what we do not find there. We find practically no trace of fatalism in its more primitive, crude and obvious forms. Nothing, again, makes us think of the actions and sufferings of the persons as somehow arbitrarily fixed ...
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... hand, if the play opens with a quiet conversation, this is usually brief, and then at once the hero enters and takes action of some decided kind. Nothing, for example, can be less like the beginning of Macbeth than that of King Lear ...
... hand, if the play opens with a quiet conversation, this is usually brief, and then at once the hero enters and takes action of some decided kind. Nothing, for example, can be less like the beginning of Macbeth than that of King Lear ...
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Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth - the ... A. C. Bradley Keine Leseprobe verfügbar - 2012 |
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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