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 2
... later play; but he did it, a hundred and fifty years after Shakespeare's death, with an air of discovery; and he certainly did not determine that because Market/9 was a superior play, Riebard III was therefore an uninteresting one. And ...
... later play; but he did it, a hundred and fifty years after Shakespeare's death, with an air of discovery; and he certainly did not determine that because Market/9 was a superior play, Riebard III was therefore an uninteresting one. And ...
Seite 3
... later plays, let alone the earlier ones. I am, however, convinced that the long settled opinion on this matter has had a depressing effect on the study of the early tragedies. There are, of course, plenty of exceptions to this, and the ...
... later plays, let alone the earlier ones. I am, however, convinced that the long settled opinion on this matter has had a depressing effect on the study of the early tragedies. There are, of course, plenty of exceptions to this, and the ...
Seite 4
... 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 single continuous ...
... 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 single continuous ...
Seite 5
... later tragedies. In fact many of the main lines of modern critical investigation, into iterative imagery or control of tone for instance, began with examination of the later plays, and assumed that what was found to be so characteristic ...
... later tragedies. In fact many of the main lines of modern critical investigation, into iterative imagery or control of tone for instance, began with examination of the later plays, and assumed that what was found to be so characteristic ...
Seite 9
... later works. But at any rate in these earlier plays his concern seems to me more often with the common roots of human experience and behaviour than with what makes one person different from another. I do not mean that the dramati ...
... later works. But at any rate in these earlier plays his concern seems to me more often with the common roots of human experience and behaviour than with what makes one person different from another. I do not mean that the dramati ...
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