Shakespeare's Tragic SequenceRoutledge, 11.10.2013 - 216 Seiten First published in 1972. The emphasis of this book is that each of Shakespeare's tragedies demanded its own individual form and that although certain themes run through most of the tragedies, nearly all critics refrain from the attempt to apply external rules to them. The plays are almost always concerned with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval idea of the reversal of fortune. |
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Seite 21
... killing of Tamora herself—is similar to that in the Thyestes—Agamemnon story. If we wish to deplore Shakespeare's lack of taste in indulging in gratuitous horror, we should not blame him so much as the 'grand old fortifying classical ...
... killing of Tamora herself—is similar to that in the Thyestes—Agamemnon story. If we wish to deplore Shakespeare's lack of taste in indulging in gratuitous horror, we should not blame him so much as the 'grand old fortifying classical ...
Seite 22
... kill her; he seized her tongue With pincers, though it cried against the outrage, Babbled and made a sound something like Father, Till the sword cut it off. The mangled root Quivered, the severed tongue along the ground Lay quivering ...
... kill her; he seized her tongue With pincers, though it cried against the outrage, Babbled and made a sound something like Father, Till the sword cut it off. The mangled root Quivered, the severed tongue along the ground Lay quivering ...
Seite 23
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Inhalt
9 | |
11 | |
20 | |
3 Julius Caesar
| 42 |
4 Hamlet
| 55 |
5 Othello
| 93 |
6 King Lear
| 117 |
7 Macbeth
| 142 |
8 Antony and Cleopatra
| 156 |
9 Coriolanus
| 172 |
10 Timon of Athens
| 187 |
Notes
| 197 |
Index | 205 |
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Häufige Begriffe und Wortgruppen
action Antony Antony and Cleopatra Antony’s argued audience avenger Banquo behaviour Bradley Brutus Caesar Cassius character Claudius Claudius’s Cleopatra Coleridge confesses conflict conscience contrast Cordelia Coriolanus critics death declares deed Desdemona devil difficult dramatist Edgar Elizabethan evil father fear figure final finally find first scene fit flatterers flesh fool Gertrude Ghost Gloucester gods Goneril Guildenstern guilty Hamlet hates hath heart heaven Horatio horror Iago Iago’s imagery images influence jealous Juliet kill King Lear King’s L. C. Knights Laertes Lear’s lovers man’s Menenius merely mind moral mother murder nature night noble Ophelia Othello passion play Plutarch poet Polonius Professor Queen realise reflection regarded revealed revenge Richard Roderigo Romeo Rosencrantz sacrifice says Shakespeare significant soliloquy soul speaks speech spirit suggested suicide tells thee There’s thou thought Timon Timon of Athens Titus Andronicus tragedy tragic hero villain virtue wife Wilson Knight words