Shakespeare's Tragic SequenceRoutledge, 2013 M10 11 - 216 páginas 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. |
Dentro del libro
Resultados 1-5 de 15
Página 12
... dramatists. Such attempts have met with little success because, as Coleridge realised, each play of a great dramatist will demand its own individual form. It is plain that the form of Peer Gynt is utterly different from that of ...
... dramatists. Such attempts have met with little success because, as Coleridge realised, each play of a great dramatist will demand its own individual form. It is plain that the form of Peer Gynt is utterly different from that of ...
Página 16
... dramatists of the age or, indeed, from Racine; and one wonders if Shakespeare, like some of his critics, regarded the love of Romeo and Juliet as sinful. The failure of such good critics to produce a theory that is applicable to all ...
... dramatists of the age or, indeed, from Racine; and one wonders if Shakespeare, like some of his critics, regarded the love of Romeo and Juliet as sinful. The failure of such good critics to produce a theory that is applicable to all ...
Página 17
... 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: he merely tried to give a faithful picture of life, seeing life steadily and seeing ...
... 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: he merely tried to give a faithful picture of life, seeing life steadily and seeing ...
Página 20
... dramatist. Could Shakespeare, they asked, at any stage of his career have perpetrated this grand guignol melodrama of rape, mutilation, murder and cannibalism? Surely it must have been one of the university wits, or a syndicate of the ...
... dramatist. Could Shakespeare, they asked, at any stage of his career have perpetrated this grand guignol melodrama of rape, mutilation, murder and cannibalism? Surely it must have been one of the university wits, or a syndicate of the ...
Página 21
... dramatists as the best models for tragedy and comedy: so that Shakespeare naturally based one of his first comedies on Plautus and, when he came to write a tragedy, he turned to Seneca. He had read some Seneca in the original and he ...
... dramatists as the best models for tragedy and comedy: so that Shakespeare naturally based one of his first comedies on Plautus and, when he came to write a tragedy, he turned to Seneca. He had read some Seneca in the original and he ...
Contenido
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 |
Otras ediciones - Ver todas
Términos y frases comunes
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