Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, MacbethLitres, 02.12.2021 |
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Andrew Cecil Bradley. Such lovers read a play more or less as if they were actors who had to study all the parts. They do not need, of course, to imagine whereabouts the persons are to stand, or what gestures they ought to use; but they ...
Andrew Cecil Bradley. Such lovers read a play more or less as if they were actors who had to study all the parts. They do not need, of course, to imagine whereabouts the persons are to stand, or what gestures they ought to use; but they ...
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... play, unless the members of the Chorus are reckoned among them); but it is pre-eminently the story of one person, the 'hero,' or at most of two, the 'hero' and 'heroine.' Moreover, it is only in the lovetragedies, Romeo and Juliet and ...
... play, unless the members of the Chorus are reckoned among them); but it is pre-eminently the story of one person, the 'hero,' or at most of two, the 'hero' and 'heroine.' Moreover, it is only in the lovetragedies, Romeo and Juliet and ...
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... play. (c) Shakespeare, lastly, in most of his tragedies allows to 'chance' or 'accident' an appreciable influence at some point in the action. Chance or accident here will be found, I think, to mean any occurrence (not supernatural, of ...
... play. (c) Shakespeare, lastly, in most of his tragedies allows to 'chance' or 'accident' an appreciable influence at some point in the action. Chance or accident here will be found, I think, to mean any occurrence (not supernatural, of ...
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... play, we slip, by our own fault or the dramatist's, from the tragic position, or when, in thinking about the play afterwards, we fall back on our everyday legal and moral notions. But tragedy does not belong, any more than religion ...
... play, we slip, by our own fault or the dramatist's, from the tragic position, or when, in thinking about the play afterwards, we fall back on our everyday legal and moral notions. But tragedy does not belong, any more than religion ...
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... play. When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety ...
... play. When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety ...
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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