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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Ergebnisse 1-5 von 46
Seite 2
... course the result of a close study of the text; but I hope it will appear that that study, an imaginative one by necessity, is governed by an imagination trained to think of the stage. At the least it will be seen that I write of the ...
... course the result of a close study of the text; but I hope it will appear that that study, an imaginative one by necessity, is governed by an imagination trained to think of the stage. At the least it will be seen that I write of the ...
Seite 3
... course, plenty of exceptions to this, and the bibliography names several, but generally speaking they have been viewed critically as prentice work, and examined for handy comparisons to illumine the quality of later achievements. Thus ...
... course, plenty of exceptions to this, and the bibliography names several, but generally speaking they have been viewed critically as prentice work, and examined for handy comparisons to illumine the quality of later achievements. Thus ...
Seite 4
... course, true of the later tragedies, that they are very strikingly different from one another; and it is a truth which is still partially obscured by the bracket 'great tragedies'. When we consider the plays in this way, we do not see a ...
... course, true of the later tragedies, that they are very strikingly different from one another; and it is a truth which is still partially obscured by the bracket 'great tragedies'. When we consider the plays in this way, we do not see a ...
Seite 5
... course, has not been neglected, and it has often been considered by itself. It seemed, however, wrong to stop short of it, and possibly right to approach it afresh with a frame of reference (earlier rather than later plays) slightly ...
... course, has not been neglected, and it has often been considered by itself. It seemed, however, wrong to stop short of it, and possibly right to approach it afresh with a frame of reference (earlier rather than later plays) slightly ...
Seite 7
... course principles that govern the selection of points to discuss or to pass over. Much of this is more or less subconscious, the results of considering these plays now and not at some other moment of history. And it is this of course ...
... course principles that govern the selection of points to discuss or to pass over. Much of this is more or less subconscious, the results of considering these plays now and not at some other moment of history. And it is this of course ...
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