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 129
... never see Antonio do any- thing mercantile except negotiate a naive deal with Shylock , and we hear only that he never charges inter- est on his many loans . In the real Venice , it is true , " signiors and rich burghers " were the same ...
... never see Antonio do any- thing mercantile except negotiate a naive deal with Shylock , and we hear only that he never charges inter- est on his many loans . In the real Venice , it is true , " signiors and rich burghers " were the same ...
Página 169
... never trained / To offices of tender courtesy . " When Shylock refuses to give a " firm reason " why he is being so brutal to Antonio except a nonrational " certain loathing , " Bassanio breaks out , " This is no answer , thou unfeeling ...
... never trained / To offices of tender courtesy . " When Shylock refuses to give a " firm reason " why he is being so brutal to Antonio except a nonrational " certain loathing , " Bassanio breaks out , " This is no answer , thou unfeeling ...
Página 341
... never been able to acknowledge the fundamental similarity , even identity , of tragic antagonists ; it fab- ricates differences where there are none . Mimetic ri- valry alone goes to the heart of the question . When Aristotle defines ...
... never been able to acknowledge the fundamental similarity , even identity , of tragic antagonists ; it fab- ricates differences where there are none . Mimetic ri- valry alone goes to the heart of the question . When Aristotle defines ...
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