Shakespeare's Early TragediesRoutledge, 11.10.2013 - 232 Seiten First published in 1968. Shakespeare's Early Tragedies contains studies of six plays: Titus Andronicus, Richard III, Romeo and Juliet, Richard II, Julius Caesar and Hamlet. The emphasis is on the variety of the plays, and the themes, a variety which has been too often obscured by the belief in a single 'tragic experience'. The kind of experience the plays create and their quality as dramatic works for the stage are also examined. These essays develop an understanding of Shakespeare's use of the stage picture in relation to the emblematic imagery of Elizabethan poetry. |
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... tone for instance , began with examination of the later plays , and assumed that what was found to be so characteristic of them must have grown to this obscure but brilliant unity from a more ran- dom use before . The truth of this ...
... tone for instance , began with examination of the later plays , and assumed that what was found to be so characteristic of them must have grown to this obscure but brilliant unity from a more ran- dom use before . The truth of this ...
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... tone of narration , in which the personal situation is kept remote from our feelings ; whereas in Titus the problems arise , it seems to me , from trying to fuse that tone , with a living situation on the stage , that of an uncle ...
... tone of narration , in which the personal situation is kept remote from our feelings ; whereas in Titus the problems arise , it seems to me , from trying to fuse that tone , with a living situation on the stage , that of an uncle ...
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... tone which I commented on . This is what is happening in Titus Andronicus . Marcus ' speech is an attempt to adapt the techniques of The Rape of Lucrece to the stage ( and not a wholly successful one ) . It is , therefore , a comment on ...
... tone which I commented on . This is what is happening in Titus Andronicus . Marcus ' speech is an attempt to adapt the techniques of The Rape of Lucrece to the stage ( and not a wholly successful one ) . It is , therefore , a comment on ...
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... tone , it is precisely like The Rape of Lucrece , granted only the diffusion of blank verse ; the advantage , for such formal writing , is certainly with the formality of a rhymed stanza . Recognizing the kind of poetry in which this ...
... tone , it is precisely like The Rape of Lucrece , granted only the diffusion of blank verse ; the advantage , for such formal writing , is certainly with the formality of a rhymed stanza . Recognizing the kind of poetry in which this ...
Seite 21
... of Violence in Titus Andronicus ' , Shakespeare Survey , 10 , 1957 , PP - 39-49 . 2 The Metamorphoses of Ovid , trans . Mary M. Innes , 1955 ( Penguin Classics ) . III A deliberate choice of tone and control of action Titus Andronicus 21.
... of Violence in Titus Andronicus ' , Shakespeare Survey , 10 , 1957 , PP - 39-49 . 2 The Metamorphoses of Ovid , trans . Mary M. Innes , 1955 ( Penguin Classics ) . III A deliberate choice of tone and control of action Titus Andronicus 21.
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Aaron action already appear becomes blood Bolingbroke Brutus Caesar Cassius character Claudius clear clearly close comedy comes comic complete concern continuous contrast course critical curse death discussed dream earlier echoes effect Elizabethan emblem emerges established experience fact feel felt figure final follows force formal function further ghost give Hamlet hand heaven human idea immediately interest involved irony Juliet kind king later leads least less lines Marcus matter means move murder nature never night obvious once opening pattern play play's poetic political presented prose Queen question reason reference revenge rhetorical Richard Richard II Roman Romeo scene seems seen sense Shakespeare significance simple soliloquy speech stage stress structure suggested thee theme thing thou thought Titus Titus Andronicus tone tragedy tragic true utterance verse whole