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 11
... thought that Shakespeare himself would probably1 have met some criticisms to which these plays are open by appealing to their historical character, and by denying that such works are to be judged by the standard of pure tragedy. In any ...
... thought that Shakespeare himself would probably1 have met some criticisms to which these plays are open by appealing to their historical character, and by denying that such works are to be judged by the standard of pure tragedy. In any ...
Seite 13
... unhistorical and did not know enough about Elizabethan ways of thought and the difference between them and ours. The criticism has a good deal of validity. Professor Campbell herself expertly deploys her wide knowledge of Introduction 1 3.
... unhistorical and did not know enough about Elizabethan ways of thought and the difference between them and ours. The criticism has a good deal of validity. Professor Campbell herself expertly deploys her wide knowledge of Introduction 1 3.
Seite 17
... 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. Shakespeare was seldom blatantly didactic ...
... 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. Shakespeare was seldom blatantly didactic ...
Seite 24
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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