Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, MacbethMacmillan, 1960 - 498 Seiten 1908. From the Introduction: In these lectures I propose to consider the four principal tragedies of Shakespeare from a single point of view. Nothing will be said of Shakespeare's place in the history of either English literature or of the drama in general. No attempt will be made to compare him with other writers. I shall leave untouched, or merely glanced at, questions regarding his life and character, the development of his genius and art, the genuineness, sources, texts, interrelations of his various works. Even what may be called, in a restricted sense, the poetry of the four tragedies-the beauties of style, diction, versification-I shall pass by in silence. Our one object will be what, again in a restricted sense, may be called dramatic appreciation; to increase our understanding and enjoyment of these works as dramas; to learn to apprehend the action and some of the personages of each with a somewhat greater truth and intensity, so that they may assume in our imaginations a shape a little less unlike the shape they wore in the imagination of their creator. |
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Seite 47
... effect . For example , that struggle in the hero's soul which sometimes accompanies the outward struggle is of the highest importance for the total effect of a tragedy ; but it is not always necessary or desirable to consider it when ...
... effect . For example , that struggle in the hero's soul which sometimes accompanies the outward struggle is of the highest importance for the total effect of a tragedy ; but it is not always necessary or desirable to consider it when ...
Seite 61
... effect , though intensely pathetic , is beautiful and moving rather than harrowing ; and this effect is repeated in a softer tone in the de- scription of Ophelia's death ( end of Act Iv . ) . And in Othello the passage where pathos of ...
... effect , though intensely pathetic , is beautiful and moving rather than harrowing ; and this effect is repeated in a softer tone in the de- scription of Ophelia's death ( end of Act Iv . ) . And in Othello the passage where pathos of ...
Seite 278
... effect , and we regard it as a very serious flaw in any considerable work of art that this should be its ultimate effect.1 So that Mr. Swinburne's description , if taken as final , and any description of King Lear as pessimistic ' in ...
... effect , and we regard it as a very serious flaw in any considerable work of art that this should be its ultimate effect.1 So that Mr. Swinburne's description , if taken as final , and any description of King Lear as pessimistic ' in ...
Inhalt
KING LEAR | 3 |
LECTURE I | 5 |
LECTURE II | 40 |
Urheberrecht | |
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action answer Antony and Cleopatra appears Banquo believe Cassio catastrophe cause certainly character conflict conscience Cordelia Coriolanus Cymbeline death deed Desdemona doubt drama Edgar Edmund effect Emilia evil exciting fact fate father fear feel follows force Ghost Gloster Goneril Hamlet heart hero Horatio horror Iago Iago's idea imagination impression Juliet Julius Caesar Kent King Lear Lady Macbeth Laertes Lear's less lines Macduff madness means melancholy merely mind moral murder nature never observe once Ophelia Othello pain passage passion perhaps persons pity play play-scene plot Polonius probably question reader reason Regan regard Richard III Roderigo Romeo Romeo and Juliet scene seems sense Shake Shakespeare Shakespearean tragedy soliloquy soul speak speare's speech story suffering suppose surely theory things thou thought Timon tion Titus Andronicus tragedy tragic truth whole Witches words