ShakespeareRoutledge, 11.10.2013 - 208 Seiten First published in 1951. |
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Seite 13
... passion. Now it must be allowed that he has not been jealous before this scene, nor is there any suggestion that he has ever been prone to jealousy. During his wooing of Desdemona he was assisted by Cassio who “went between us very oft ...
... passion. Now it must be allowed that he has not been jealous before this scene, nor is there any suggestion that he has ever been prone to jealousy. During his wooing of Desdemona he was assisted by Cassio who “went between us very oft ...
Seite 15
... passion. We have already seen in him a man in whom passion preponderates over reason; and the condition becomes worse and worse as the second half of the play proceeds. At climactic points it becomes a frenzy. N ow what of Othello ...
... passion. We have already seen in him a man in whom passion preponderates over reason; and the condition becomes worse and worse as the second half of the play proceeds. At climactic points it becomes a frenzy. N ow what of Othello ...
Seite 16
... passion could not shake? (IV. i. 275—7) These lines describe Othello as Venice knew him, before the temptation. Can ... passion. He seems to be a man whose reason is never in danger of being overthrown by passion. But he himself, out of ...
... passion could not shake? (IV. i. 275—7) These lines describe Othello as Venice knew him, before the temptation. Can ... passion. He seems to be a man whose reason is never in danger of being overthrown by passion. But he himself, out of ...
Seite 17
... passion is trying to get the better of his reason: surely the audience is actually being invited to think that the hero's passion may try to do that again, and may even succeed. And when a man speaks of his “passion” and his “best ...
... passion is trying to get the better of his reason: surely the audience is actually being invited to think that the hero's passion may try to do that again, and may even succeed. And when a man speaks of his “passion” and his “best ...
Seite 31
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Inhalt
7 | |
9 | |
Chapter II Shakespeare and the OrderDisorder Antithesis | 39 |
Chapter III Comedy | 57 |
Chapter IV Imaginative Interpretation and Troilus and Cressida | 89 |
Chapter V History | 115 |
Chapter VI Tragedy | 157 |
Chapter VII The Last Plays | 188 |
Book List | 201 |
Index | 205 |
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Häufige Begriffe und Wortgruppen
according Achilles antithesis audience Aufidius Belarius believe Bolingbroke character Claudius comedy concerned conflict Coriolanus court Cressida criticism Cymbeline deed deposed Desdemona disorder-figures disordered personality doth Dover Wilson dramatic Duke Elizabethan evil fact Falstaff father feel fight figure final find first forest of Arden foul gives God’s Greek Guiderius Hamlet hath Hector Henry Henry IV plays Henry’s hero honour Hotspur Iago idea imaginative influence interpretation king King Lear L. C. Knights Lady Macbeth law of order Lear lover Machiavelli Malvolio man’s means mind moral murder nature Olivia Othello passion poetic Posthumus Prince Professor Dover Professor Stoll psychological reader reason regards Richard Richard II Rome satire says scene Shake Shakespeare play Shakespeare wants Shakespearian significance Sir Toby speaks subconscious suggested Tamburlaine theme things thou tragedy Troilus Troilus and Cressida true Twelfth Night universe unnatural usurpation wife Wilson Knight Witches words wrong