Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, MacbethLitres, 02.12.2021 |
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... passion or impersonal principle; doubts, desires, scruples, ideas—whatever can animate, shake, possess, and drive a man's soul. In a Shakespearean tragedy some such forces are shown in conflict. They are shown acting in men and ...
... passion or impersonal principle; doubts, desires, scruples, ideas—whatever can animate, shake, possess, and drive a man's soul. In a Shakespearean tragedy some such forces are shown in conflict. They are shown acting in men and ...
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... passion, or will attains in them a terrible force. In almost all we observe a marked one-sidedness, a predisposition in some particular direction; a total incapacity, in certain circumstances, of resisting the force which draws in this ...
... passion, or will attains in them a terrible force. In almost all we observe a marked one-sidedness, a predisposition in some particular direction; a total incapacity, in certain circumstances, of resisting the force which draws in this ...
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... passion, or habit of mind. This, it would seem, is, for Shakespeare, the fundamental tragic trait. It is present in his early heroes, Romeo and Richard II., infatuated men, who otherwise rise comparatively little above the ordinary ...
... passion, or habit of mind. This, it would seem, is, for Shakespeare, the fundamental tragic trait. It is present in his early heroes, Romeo and Richard II., infatuated men, who otherwise rise comparatively little above the ordinary ...
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... passion for perfection: we cannot otherwise explain its behaviour towards evil. Yet it appears to engender this evil within itself, and in its effort to overcome and expel it it is agonised with pain, and driven to mutilate its own ...
... passion for perfection: we cannot otherwise explain its behaviour towards evil. Yet it appears to engender this evil within itself, and in its effort to overcome and expel it it is agonised with pain, and driven to mutilate its own ...
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... passion. We realise them at the end of the first page, and are almost ready to regard the hero as doomed. Often, again, at one or more points during the exposition this feeling is reinforced by some expression that has an ominous effect ...
... passion. We realise them at the end of the first page, and are almost ready to regard the hero as doomed. Often, again, at one or more points during the exposition this feeling is reinforced by some expression that has an ominous effect ...
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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