Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 28Gale Research Company, 1984 |
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Seite 63
... comic energy , launched into a cel- ebration of the skills of its author . At a pause in this chorus of praise , one suddenly asked the other , " When did Shakespeare live ? " Her friend replied , " In the fourteenth century , I think ...
... comic energy , launched into a cel- ebration of the skills of its author . At a pause in this chorus of praise , one suddenly asked the other , " When did Shakespeare live ? " Her friend replied , " In the fourteenth century , I think ...
Seite 65
... comic preparation in a way that both shapes and determines the scenes ' tones and directs our judgment . Preparation for the comic dimension of the two casket scenes begins in 1.2 with Portia's catalogue of the unwel- come suitors : the ...
... comic preparation in a way that both shapes and determines the scenes ' tones and directs our judgment . Preparation for the comic dimension of the two casket scenes begins in 1.2 with Portia's catalogue of the unwel- come suitors : the ...
Seite 66
... comic experience that involves our superiority as audience . This is a kind of participatory comedy in which we share the characters ' elation.4 Much Ado About Nothing affords comic pleasures different from those available in The ...
... comic experience that involves our superiority as audience . This is a kind of participatory comedy in which we share the characters ' elation.4 Much Ado About Nothing affords comic pleasures different from those available in The ...
Inhalt
Texts and Revels in Twelfth Night | 13 |
Lynda E Boose The Taming of the Shrew Good Husbandry and Enclosure | 21 |
Juliet Dusinberre As Who Liked It? | 31 |
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