William Shakespeare: The Critical Heritage Volume 4 1753-1765Brian Vickers Routledge, 2003 M09 1 - 568 páginas The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material. |
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Página 9
... were strong pressures against representing it at all. Earlier Shakespeare critics had pronounced some of Shakespeare's most celebrated characters—including Macbeth, Lady Macbeth, Iago, Richard III, Shylock, and Brutus—to 9 INTRODUCTION.
... were strong pressures against representing it at all. Earlier Shakespeare critics had pronounced some of Shakespeare's most celebrated characters—including Macbeth, Lady Macbeth, Iago, Richard III, Shylock, and Brutus—to 9 INTRODUCTION.
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... Richard III, Shylock, and Brutus—to be 'too monstrous for the stage'.13 Kames is so horrified by Lady Macbeth's soliloquy arousing herself to the murder of Duncan that he twice describes it as 'not natural', and concludes with the hope ...
... Richard III, Shylock, and Brutus—to be 'too monstrous for the stage'.13 Kames is so horrified by Lady Macbeth's soliloquy arousing herself to the murder of Duncan that he twice describes it as 'not natural', and concludes with the hope ...
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... Richard III (e.g. Nos 157, 165, 173, 191) since both were the current acting versions. Yet these accepted adaptations had their opponents. Frances Brooke, writing in 1756 (No. 156), expressed surprise that both companies should prefer ...
... Richard III (e.g. Nos 157, 165, 173, 191) since both were the current acting versions. Yet these accepted adaptations had their opponents. Frances Brooke, writing in 1756 (No. 156), expressed surprise that both companies should prefer ...
Página 27
... Richard III's resentment at his deformity (although this contradicts other accounts), the graphically rendered emotional confusion of Macbeth or Hamlet—it would seem as if Garrick excelled at depicting strongly contrasting emotions, or ...
... Richard III's resentment at his deformity (although this contradicts other accounts), the graphically rendered emotional confusion of Macbeth or Hamlet—it would seem as if Garrick excelled at depicting strongly contrasting emotions, or ...
Página 28
... Richard III. He found Garrick most suited to tragic roles needing 'weight and dignity', such as Henry IV and above all Lear, where 'the circumstances of age and infirmity are more happily suited to the weakness of his powers'. (Garrick ...
... Richard III. He found Garrick most suited to tragic roles needing 'weight and dignity', such as Henry IV and above all Lear, where 'the circumstances of age and infirmity are more happily suited to the weakness of his powers'. (Garrick ...
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William Shakespeare: The Critical Heritage Volume 4 1753-1765 Brian Vickers Vista previa limitada - 2003 |
Términos y frases comunes
absurd actor adaptation admirable altered Antony and Cleopatra appear Arthur Murphy beauties Caliban character Cibber Cinthio circumstances comedy Cordelia Coriolanus criticism Cymbeline daughters David Garrick death Desdemona Dr Johnson dramatic e’er edition English essay excellent expression eyes father faults Garrick genius give Goneril Hamlet hath heart heav’n honour Iago idea imagination imitation Imogen judgment King Lear King’s Lady language Lear’s Leonatus Leontes Lord Macbeth madness manner merit metaphor Midsummer Night’s Dream mind Murphy nature never night o’er observe ofthe Othello passage passion performance Philario piece Play poet poet’s poetical poetry Pope Prince propriety Queen rage reader Review Richard Richard III Romeo scene sense sentiments Shakespeare shew soliloquy soul speak speech spirit stage striking taste Tate Tempest theatre thee Theophilus Cibber thou thought thro Tragedy unnatural verse Veturia Warburton Winter’s Tale words wou’d writers