Prefaces to Shakespeare: Introduction. Love's labour's lost. Julius Caesar. King LearSidgwick & Jackson, 1946 |
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... asks the question ( if only they would ask questions about this play they think they know so well , how much more they would enjoy it ! ) , but we , as students , may ; since here perhaps is one of those points which , as Dover Wilson ...
... asks the question ( if only they would ask questions about this play they think they know so well , how much more they would enjoy it ! ) , but we , as students , may ; since here perhaps is one of those points which , as Dover Wilson ...
Seite 313
... asks us to allow him the fact of the deception , even as we have allowed him Lear's partition of the kingdom . It is his starting point , the dramatist's " let's pretend , " which is as essential to the beginning of a play as a " let it ...
... asks us to allow him the fact of the deception , even as we have allowed him Lear's partition of the kingdom . It is his starting point , the dramatist's " let's pretend , " which is as essential to the beginning of a play as a " let it ...
Seite 404
... asks some strength . However , this could be provided ostensibly by the " and her Maides , " actually by stagehands helping from behind the curtains ; and Shakespeare makes dramatic capital out of the apparent difficulty . But the upper ...
... asks some strength . However , this could be provided ostensibly by the " and her Maides , " actually by stagehands helping from behind the curtains ; and Shakespeare makes dramatic capital out of the apparent difficulty . But the upper ...
Inhalt
THE STUDY AND THE STAGE I | 1 |
THE CONVENTION OF PLACE | 8 |
THE BOYACTRESS | 14 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
action actor answer Antony Antony and Cleopatra Antony's audience Bassanio beginning Belarius better Cæsar character Charmian Claudius Cleopatra Cloten comes contrast Cordelia Court Cymbeline dead death Dover Wilson dramatic dramatist effect Elizabethan emotion Enobarbus eyes father feel Folio Fool Fortinbras Gertrude Ghost give Gloucester Goneril Guiderius Hamlet hath hear heart Horatio Iachimo imagination Imogen inner stage Julius Cæsar Kent King Lear King's Laertes later Lear's leave lines look lord madness matter means mind mother murder nature never once Ophelia Osric Othello pass passion pause Pisanio play play's Players Polonius Pompey Portia Posthumus prose Queen Regan Roman Rosencrantz and Guildenstern scene sense Shake Shakespeare Shylock sight soliloquy sort speak speare speech spirit stage direction stagecraft stand story surely tale talk tell theater thee thing thou thought tragedy turn verse words