Poison, Play, and Duel: A Study in HamletUniversity of Nebraska Press, 1971 - 212 Seiten |
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Seite 12
... argument of Hamlet . This argument is conducted in the terms of the actions of poison , play , and duel which the actors must perform if they are to present the play . A dramatic argument , however , is a series of more or less accurate ...
... argument of Hamlet . This argument is conducted in the terms of the actions of poison , play , and duel which the actors must perform if they are to present the play . A dramatic argument , however , is a series of more or less accurate ...
Seite 51
... argument which is still in progress at the end of the play . This clash of opinion is emphasized by the clash of colours in the clothes of the actors . The court glitters with the ceremony of a new reign and a recent wedding . Hamlet ...
... argument which is still in progress at the end of the play . This clash of opinion is emphasized by the clash of colours in the clothes of the actors . The court glitters with the ceremony of a new reign and a recent wedding . Hamlet ...
Seite 163
... argument . It is the debate between memory and oblivion started in the first court scene and most persuasively ... argument of the scene now imitates the argument of the play . It shifts abruptly from general considerations to a ...
... argument . It is the debate between memory and oblivion started in the first court scene and most persuasively ... argument of the scene now imitates the argument of the play . It shifts abruptly from general considerations to a ...
Inhalt
PREFACE | 11 |
HAMLET AND THE ART OF MEMORY | 30 |
THE CENTRE OF CONSCIOUSNESS | 58 |
Urheberrecht | |
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accept action actor allows appears argued argument attempt audience avenger aware beauty become beginning believes body brother called cause characters choice Claudius clear closet command complete conduct conscience consciousness consequences court created critical dead death Denmark describes desire difficulty dramatic dramatist duel effect entire evident exist explain expressed face fact failed fashion father figure final follow force fortune future Gertrude Ghost give graces graveyard Guildenstern Hamlet harmony Horatio human imagery important inner-play killing kind King King's Laertes language Lucianus madness means memory mind mirror moral mother murder nature offers Ophelia passion past performance person play Player poison Polonius possible present problems provides Queen questions reason remembrance Renaissance response revenge role Rosencrantz scene sense sexual Shakespeare soliloquies soul speech stage suggests symbol theatre thought true turn understanding University vengeance