Poison, Play, and Duel: A Study in HamletUniversity of Nebraska Press, 1971 - 212 Seiten |
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Seite 72
... death than during the present hopeless battle conducted under burdened conditions . It is the fear of something after death which paralyses the will and prevents it seeking relief in self - destruction ( 3 i 78 : 1732 ) : Hamlet But ...
... death than during the present hopeless battle conducted under burdened conditions . It is the fear of something after death which paralyses the will and prevents it seeking relief in self - destruction ( 3 i 78 : 1732 ) : Hamlet But ...
Seite 164
... death's head . A few lines later the court carries in the body of Ophelia . There is no need for the skull to go to ' my lady's chamber ' . Ophelia is on her way to the ' eternal cell ' ( 5 ii 357 : 3858 ) of death which is also her ...
... death's head . A few lines later the court carries in the body of Ophelia . There is no need for the skull to go to ' my lady's chamber ' . Ophelia is on her way to the ' eternal cell ' ( 5 ii 357 : 3858 ) of death which is also her ...
Seite 165
... death . At this moment Hamlet rejects the ' common ' knowledge of death to proclaim his own love for Ophelia . Over her body , with the skulls at their feet , Hamlet and Laertes begin the struggle which will kill them both . Neither can ...
... death . At this moment Hamlet rejects the ' common ' knowledge of death to proclaim his own love for Ophelia . Over her body , with the skulls at their feet , Hamlet and Laertes begin the struggle which will kill them both . Neither can ...
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