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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... beginning at first with inherited dramatic forms and a conventional morality, learned to embody successive visions of human life in dramatic vehicles, each of which provides the emotional equivalent of an intellectual statement. This ...
... beginning at first with inherited dramatic forms and a conventional morality, learned to embody successive visions of human life in dramatic vehicles, each of which provides the emotional equivalent of an intellectual statement. This ...
Seite
Irving Ribner. Contents Preface 1. Introduction page xi I 2. Senecan Beginnings : Titus Andronicus , Richard III , Romeo and Juliet 3. Historical Tragedy : King John , Richard II , Julius Caesar 4. The Pattern of Growth : Hamlet 5. The ...
Irving Ribner. Contents Preface 1. Introduction page xi I 2. Senecan Beginnings : Titus Andronicus , Richard III , Romeo and Juliet 3. Historical Tragedy : King John , Richard II , Julius Caesar 4. The Pattern of Growth : Hamlet 5. The ...
Seite 1
... beginning at first with inherited dramatic forms and a conventional morality , learned to embody successive visions of human life in dramatic vehicles , each of which provides the emo- tional equivalent of an intellectual statement ...
... beginning at first with inherited dramatic forms and a conventional morality , learned to embody successive visions of human life in dramatic vehicles , each of which provides the emo- tional equivalent of an intellectual statement ...
Seite 13
... which all his tragedies tend . After this his relentless probing could lead him only to the paradox implicit in his two final Roman plays . CHAPTER TWO Senecan Beginnings : Titus Andronicus Richard III , Introduction 13.
... which all his tragedies tend . After this his relentless probing could lead him only to the paradox implicit in his two final Roman plays . CHAPTER TWO Senecan Beginnings : Titus Andronicus Richard III , Introduction 13.
Seite 14
Irving Ribner. CHAPTER TWO Senecan Beginnings : Titus Andronicus Richard III , Bomeo and Juliet n Shakespeare's three earliest tragedies , Titus Andronicus , Richard III and ... Beginnings: Titus Andronicus, Richard III, Romeo and Juliet.
Irving Ribner. CHAPTER TWO Senecan Beginnings : Titus Andronicus Richard III , Bomeo and Juliet n Shakespeare's three earliest tragedies , Titus Andronicus , Richard III and ... Beginnings: Titus Andronicus, Richard III, Romeo and Juliet.
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