Shakespeare's Early TragediesRoutledge, 11.10.2013 - 232 Seiten First published in 1968. Shakespeare's Early Tragedies contains studies of six plays: Titus Andronicus, Richard III, Romeo and Juliet, Richard II, Julius Caesar and Hamlet. The emphasis is on the variety of the plays, and the themes, a variety which has been too often obscured by the belief in a single 'tragic experience'. The kind of experience the plays create and their quality as dramatic works for the stage are also examined. These essays develop an understanding of Shakespeare's use of the stage picture in relation to the emblematic imagery of Elizabethan poetry. |
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Seite 1
... become possible for every schoolchild to distinguish 'true tragedy' from any other play which ends with the death of the hero. Some may have doubts whether Antotyl and CleoPatra ought not to be admitted to the distinguished group ...
... become possible for every schoolchild to distinguish 'true tragedy' from any other play which ends with the death of the hero. Some may have doubts whether Antotyl and CleoPatra ought not to be admitted to the distinguished group ...
Seite 2
Nicholas Brooke. this, which has become so clear, was not always so: Whately compared Riebard III and Maebetb in the eighteenth century, and saw the superiority of the later play; but he did it, a hundred and fifty years after ...
Nicholas Brooke. this, which has become so clear, was not always so: Whately compared Riebard III and Maebetb in the eighteenth century, and saw the superiority of the later play; but he did it, a hundred and fifty years after ...
Seite 5
... become more flexible no doubt, more subsumed in a general unity of tone, but they have their origin in the fertile, if rather too self-conscious, experimentation of Shakespeare's early plays. For he was not then simply experimenting in ...
... become more flexible no doubt, more subsumed in a general unity of tone, but they have their origin in the fertile, if rather too self-conscious, experimentation of Shakespeare's early plays. For he was not then simply experimenting in ...
Seite 10
... becomes known as a completed whole only with its last action which may simply fulfil what has gone before, or may establish a final modification. This, and not mere pedestrianism, is why my discussions tend to proceed by following the ...
... becomes known as a completed whole only with its last action which may simply fulfil what has gone before, or may establish a final modification. This, and not mere pedestrianism, is why my discussions tend to proceed by following the ...
Seite 15
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Inhalt
1 | |
13 | |
Richard III 1593? | 48 |
Romeo and Juliet 1595 | 80 |
Richard II 1595 | 107 |
Julius Caesar 1599 | 138 |
Hamlet 16001 | 163 |
Selective Bibliography | 207 |
Index | 211 |
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Häufige Begriffe und Wortgruppen
Aaron action Antony audience beast becomes blank verse blood Bolingbroke Brutus Caesar Cassius character choric Clarence’s Claudius climax comedy comic confidence conflict conscience contrast course critical curse death divine doth Dover Wilson dramatic dream earlier plays echoes Edward’s emblem emblematic emerges established fact Faerie Queene figure final finally find fire first fit flesh formal fulfil ghost Hamlet hath heaven and hell heroic Horatio human irony julius Caesar kind king Laertes later Lavinia Lucius magnificent Marcus Margaret Mercutio murder night nobility noble obvious Ophelia pattern play’s poetic poetry political Polonius prose Queen Queen Mab question reflection revenge rhetorical Richard Richard II ritual Roman Rome Romeo and Juliet Saturninus scene seems sense sequence Shakespeare significance simple soliloquy specific speech stage stress structure suggested T. S. Eliot Tamora thee theme thou tion Titer Titus Titus Andronicus tone tragedy tragic utterance verse words