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 17
... mind was 'a thoroughfare for all thoughts, not a select party'.14 This disinterestedness is the chief necessity for a dramatist, for he can make his characters come alive only if he is able for a time to see through their eyes ...
... mind was 'a thoroughfare for all thoughts, not a select party'.14 This disinterestedness is the chief necessity for a dramatist, for he can make his characters come alive only if he is able for a time to see through their eyes ...
Seite 21
... mind when he wrote of the rape of Lavinia. Aaron tells Tamora: This is the day of doom for Bassianus: His Philomel must lose her tongue today. (II.iii.42—3) When Marcus comes upon the mutilated Lavinia he immediately guesses what has ...
... mind when he wrote of the rape of Lavinia. Aaron tells Tamora: This is the day of doom for Bassianus: His Philomel must lose her tongue today. (II.iii.42—3) When Marcus comes upon the mutilated Lavinia he immediately guesses what has ...
Seite 22
... mind . . . A craftier Tereus, cousin, hast thou met, And he hath cut those pretty fingers off That could have better sew'd than Philomel. (II.iv.26—43) Lavinia reveals the truth by pointing to the tale in a copy of Ovid; and in the last ...
... mind . . . A craftier Tereus, cousin, hast thou met, And he hath cut those pretty fingers off That could have better sew'd than Philomel. (II.iv.26—43) Lavinia reveals the truth by pointing to the tale in a copy of Ovid; and in the last ...
Seite 31
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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