Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, MacbethLitres, 02.12.2021 |
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... least, as in Romeo and Juliet, with members of great houses, whose quarrels are of public moment. There is a decided difference here between Othello and our three other tragedies, but it is not a difference of kind. Othello himself is ...
... least, as in Romeo and Juliet, with members of great houses, whose quarrels are of public moment. There is a decided difference here between Othello and our three other tragedies, but it is not a difference of kind. Othello himself is ...
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... least may be said of the principal persons, and, among them, of the hero, who always contributes in some measure to the disaster in which he perishes. This second aspect of tragedy evidently differs greatly from the first. Men, from ...
... least may be said of the principal persons, and, among them, of the hero, who always contributes in some measure to the disaster in which he perishes. This second aspect of tragedy evidently differs greatly from the first. Men, from ...
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... least one of these cases, Macbeth, there is something a little external in this way of looking at the action. And when we come to some other plays this feeling increases. No doubt most of the characters in Hamlet, King Lear, Othello, or ...
... least one of these cases, Macbeth, there is something a little external in this way of looking at the action. And when we come to some other plays this feeling increases. No doubt most of the characters in Hamlet, King Lear, Othello, or ...
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... least at some point in the action, and sometimes at many, torn by an inward struggle; and it is frequently at such points that Shakespeare shows his most extraordinary power. If further we compare the earlier tragedies with the later ...
... least at some point in the action, and sometimes at many, torn by an inward struggle; and it is frequently at such points that Shakespeare shows his most extraordinary power. If further we compare the earlier tragedies with the later ...
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... least, the desire for the hero's ruin. The tragic hero with Shakespeare, then, need not be 'good,' though generally he is 'good' and therefore at once wins sympathy in his error. But it is necessary that he should have so much of ...
... least, the desire for the hero's ruin. The tragic hero with Shakespeare, then, need not be 'good,' though generally he is 'good' and therefore at once wins sympathy in his error. But it is necessary that he should have so much of ...
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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