Poison, Play, and Duel: A Study in HamletUniversity of Nebraska Press, 1971 - 212 Seiten |
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Seite 86
A Study in Hamlet Nigel Alexander. Conscience ironically now restrains him from killing the King , as it had earlier prevented him from killing himself . Hamlet's hatred of the King is , therefore , carefully set within a con- text which ...
A Study in Hamlet Nigel Alexander. Conscience ironically now restrains him from killing the King , as it had earlier prevented him from killing himself . Hamlet's hatred of the King is , therefore , carefully set within a con- text which ...
Seite 114
... killed Claudius . The Murder of Gonzago begins with the killing of a King in wordless action . It is abruptly interrupted at the moment when a man identified as the King's nephew is pouring poison into his ear . The double performance ...
... killed Claudius . The Murder of Gonzago begins with the killing of a King in wordless action . It is abruptly interrupted at the moment when a man identified as the King's nephew is pouring poison into his ear . The double performance ...
Seite 119
... killing begins . The first death among the characters is not the revenge - killing predicted in the inner - play's double image of death . It is , however , a logical although unforeseen development of that action . From a dramatic ...
... killing begins . The first death among the characters is not the revenge - killing predicted in the inner - play's double image of death . It is , however , a logical although unforeseen development of that action . From a dramatic ...
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