Poison, Play, and Duel: A Study in HamletUniversity of Nebraska Press, 1971 - 212 Seiten |
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Seite 70
... difficulty in finding something to ' say ' . Words alone , however , are no longer enough to satisfy him ( 2 ii 578 : 1623 ) : Hamlet This is most brave , That I , the son of a dear father murder'd , Prompted to my revenge by heaven and ...
... difficulty in finding something to ' say ' . Words alone , however , are no longer enough to satisfy him ( 2 ii 578 : 1623 ) : Hamlet This is most brave , That I , the son of a dear father murder'd , Prompted to my revenge by heaven and ...
Seite 102
... difficulty be made ' dramatic ' . Some of the difficulties of that treatment may be observed in George Chapman's The Revenge of Bussy D'Ambois . Shakespeare's use of this traditional device is strikingly original . It is used to provoke ...
... difficulty be made ' dramatic ' . Some of the difficulties of that treatment may be observed in George Chapman's The Revenge of Bussy D'Ambois . Shakespeare's use of this traditional device is strikingly original . It is used to provoke ...
Seite 107
... difficulties for the actors but to help them affect the emotions of the audience . The actor playing Claudius will not be in too great difficulty if he treats the double action as a demonstration of the art of memory . Actions alone are ...
... difficulties for the actors but to help them affect the emotions of the audience . The actor playing Claudius will not be in too great difficulty if he treats the double action as a demonstration of the art of memory . Actions alone are ...
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