Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 57Gale Research Company, 1984 |
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Seite 192
... never anything more or less than simple kill- ing . Some may argue that the later prophecies in the play must surely be meant to suggest that a supernatural design of some sort lies behind that joke that the three hags play upon the ...
... never anything more or less than simple kill- ing . Some may argue that the later prophecies in the play must surely be meant to suggest that a supernatural design of some sort lies behind that joke that the three hags play upon the ...
Seite 206
... never , from beginning to end , does he suffer misfortune or defeat . Not only is he never discov- ered : at the very end he even reaps the rewards of the thanes who opposed the tyrant , being elevated , with them , to an earldom ! Let ...
... never , from beginning to end , does he suffer misfortune or defeat . Not only is he never discov- ered : at the very end he even reaps the rewards of the thanes who opposed the tyrant , being elevated , with them , to an earldom ! Let ...
Seite 240
... never seems to be enough . Having begun his crimes by killing Duncan while allowing his heirs to escape , he will crown them by killing all of Macduff's heirs after allowing Macduff to escape . The violence increases exponentially , but ...
... never seems to be enough . Having begun his crimes by killing Duncan while allowing his heirs to escape , he will crown them by killing all of Macduff's heirs after allowing Macduff to escape . The violence increases exponentially , but ...
Inhalt
Introduction | 1 |
History and Philosophy | 31 |
Representation and Identity | 40 |
Urheberrecht | |
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action actor androgyny appears Arden argues audience Banquo becomes blood body Celia character comedy comic critics culture death discourse disguise dramatic Duke Duncan early modern Elizabethan England English essay evil Falstaff fantasy father fear female Ganymede gender genre Guarini Hal's Henry Henry IV plays Henry's Hermione Hermione's Hotspur human ideology imagination Jaques King Lady Macbeth Lady Macduff language Leontes Leontes's literary London Macduff Machiavelli Malcolm male marriage masculine means moral murder narrative nature Orlando Orpheus Ovid Ovid's pastoral Paulina Perdita performance performative utterance play play's political Polixenes present Prince Hal Pygmalion queen reading reformation Renaissance Richard Richard II role romance Rosalind Ross scene seems sexual Shake Shakespeare social speak speare's speech stage statue Stephen Orgel story suggests superego theater theatrical thee thou tion tragedy tragicomedy Univ University Press violence wife Winter's Tale witches woman women words wrestling York