Patterns in Shakespearian TragedyRoutledge, 13.09.2013 - 224 Seiten First published in 1960. Patterns in Shakespearian Tragedy is an exploration of man's relation to his universe and the way in which it seeks to postulate a moral order. Shakespeare's development is treated accordingly as a growth in moral vision. His movement from play to play is carefully explored, and in the treatment of each tragedy the emphasis is on the manner in which its central moral theme shapes the various elements of drama |
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... equivalent of an intellectual statement. This statement all of the elements of drama – action, character and poetry – are designed to support. 1 The moral vision in Shakespearian tragedy has been argued Introduction.
... equivalent of an intellectual statement. This statement all of the elements of drama – action, character and poetry – are designed to support. 1 The moral vision in Shakespearian tragedy has been argued Introduction.
Seite
... action and by the willingness of the audience to believe. There need be no conflict between the demands of realism and symbol. It is, nevertheless, observable that as Shakespeare became more and more absorbed in the religious and ...
... action and by the willingness of the audience to believe. There need be no conflict between the demands of realism and symbol. It is, nevertheless, observable that as Shakespeare became more and more absorbed in the religious and ...
Seite 1
... Herbert Weisinger , Tragedy and the Paradox of the Fortunate Fall ( East Lansing , Mich . , 1953 ) ; T. R. Henn , The Harvest of Tragedy ( London , 1956 ) . the elements of drama - action , character and poetry I Introduction.
... Herbert Weisinger , Tragedy and the Paradox of the Fortunate Fall ( East Lansing , Mich . , 1953 ) ; T. R. Henn , The Harvest of Tragedy ( London , 1956 ) . the elements of drama - action , character and poetry I Introduction.
Seite 2
... action , character and language into a total unity which is the final aesthetic object . Nor would I deny the realism of Shakespeare's art which so many critics have affirmed . Shakespeare's dramatic method com- bined a realistic ...
... action , character and language into a total unity which is the final aesthetic object . Nor would I deny the realism of Shakespeare's art which so many critics have affirmed . Shakespeare's dramatic method com- bined a realistic ...
Seite 3
... Lady Macbeth ? " in Explorations ( New York , 1947 ) , and Robert Langbaum , ' Character Versus Action in Shakespeare ' , SQ , VIII ( 1957 ) , 57-69 . The historical critics who succeeded Bradley1 have taught us that Introduction 3.
... Lady Macbeth ? " in Explorations ( New York , 1947 ) , and Robert Langbaum , ' Character Versus Action in Shakespeare ' , SQ , VIII ( 1957 ) , 57-69 . The historical critics who succeeded Bradley1 have taught us that Introduction 3.
Inhalt
1 | |
14 | |
King John Richard II Julius Caesar | 36 |
Hamlet | 65 |
Othello | 91 |
King Lear | 116 |
Timon of Athens and Macbeth | 137 |
Antony and Cleopatra and Coriolanus | 168 |
Index +55 14 36 65 91 116 137 168 | 203 |
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accept action already Antony appearance attain attempt audience becomes beginning bond Brutus Caesar calls cause character Christian Claudius clear Cleopatra comes concerned Coriolanus damnation death delusion deny Desdemona designed destroy destruction developed divine dramatic Elizabethan emphasize England evil fall father fear feeling final follow forces fortune function ghost give Gloucester God's Hamlet hand hero honour human Iago John justice kind King lead Lear Lear's learned lines live London Macbeth madness man's means moral murder nature never offer opposing Othello passion pattern play political pride reality reason reflects regeneration rejection represents revenge Richard Rome Romeo and Juliet scene sense serve Shake Shakespeare Shakespearian Tragedy shows sins soul specific speech spite stands story suffering symbol thee theme thou Timon Titus Andronicus tradition tragedy tragic true turn universe victory virtue Wilson York