Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volumen40Gale Research Company, 1984 |
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Página 114
... effect whatsoever : There is no power in the tongue of man To alter me . ( IV . i . 236-7 ) Shylock's deafness to such eloquence reflects on the powerlessness of words , however just and reasoned , to move his affections ; and later in ...
... effect whatsoever : There is no power in the tongue of man To alter me . ( IV . i . 236-7 ) Shylock's deafness to such eloquence reflects on the powerlessness of words , however just and reasoned , to move his affections ; and later in ...
Página 138
... effect . What I have just called the play's prevalent ideology is itself a product of at least three ideological dis- courses agrarian - aristocratic , mercantile , and Chris- tian ( or one version of Christian ) that harmonize with ...
... effect . What I have just called the play's prevalent ideology is itself a product of at least three ideological dis- courses agrarian - aristocratic , mercantile , and Chris- tian ( or one version of Christian ) that harmonize with ...
Página 307
... effect of inner dialogue . Thus , the poet first plumbs the reasons for the fair youth's break , turns in quatrain two directly to himself , then turns again , putting " thou " in control of the third stanza for a pièce de résistance of ...
... effect of inner dialogue . Thus , the poet first plumbs the reasons for the fair youth's break , turns in quatrain two directly to himself , then turns again , putting " thou " in control of the third stanza for a pièce de résistance of ...
Contenido
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Derechos de autor | |
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Shakespearean Criticism: Excerpts from the Criticism of William ..., Volumen28 Vista de fragmentos - 1984 |
Términos y frases comunes
action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young