Shakespeare's Wide and Universal StageC. B. Cox, Brian Cox, David John Palmer Manchester University Press, 1984 - 233 Seiten |
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Seite 28
... never closed . The radical change of sympathy which attends the progress of Shylock would dislocate a ' closed ' work of art . To Bayley , the relationship between Shakespeare and his characters is analogous to the relationship between ...
... never closed . The radical change of sympathy which attends the progress of Shylock would dislocate a ' closed ' work of art . To Bayley , the relationship between Shakespeare and his characters is analogous to the relationship between ...
Seite 60
... never approaches it . Like virtually every play of Shakespeare's , Much Ado is written in a mixture of prose and verse , and one of the first things we notice when we look at it attentively is that the prose is everywhere more memorable ...
... never approaches it . Like virtually every play of Shakespeare's , Much Ado is written in a mixture of prose and verse , and one of the first things we notice when we look at it attentively is that the prose is everywhere more memorable ...
Seite 72
... never as skilfully shown as here . The initial difficulty is heightened by the fact that their verbal defences are so highly developed ; left to themselves , they will fence and fence their lives away ; cleverness will be their undoing ...
... never as skilfully shown as here . The initial difficulty is heightened by the fact that their verbal defences are so highly developed ; left to themselves , they will fence and fence their lives away ; cleverness will be their undoing ...
Inhalt
Mr Becketts Shakespeare JOHN RUSSELL BROWN | 1 |
The argument about Shakespeares characters A D NUTTALL | 18 |
Shakespeare breaks the illusion JOHN EDMUNDS | 32 |
Urheberrecht | |
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action actor Antony Arden audience aware become Benedick Bradley Brutus Brutus's Cassius characters Claudio Claudius Clown comedy comic Cordelia Coriolanus Coriolanus's course critics death Desdemona drama Elizabethan Elsinore essay Estragon fact false Falstaff father feel fool give Hal's Hamlet hath Henry hero honour human I.ii I.iii Iago II.ii illusion imagination irony Jaques Juliet Julius Caesar kill kind King King Lear Knights's L. C. Knights language Lear Lear's Leonato look Macbeth Malvolio metaphor mind moral Morgann murder nature Nurse Nurse's Olivia Othello pattern play play's plot Plutarch political Polonius Prince question reality recognise redeem response rhetoric Richard Richard III role Roman Rome Rosalind scene seems sense Shakespeare significance situation soliloquy speak speech stage suggests symbolic television tell theatre theatrical things thou tragedy tragic truth Viola Waiting for Godot Wilson Knight words