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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... provides the emotional 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.
... provides the emotional 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
... character consistency. This becomes evident as we move from Hamlet to Othello, and it is particularly clear in the final Roman plays, where characters such as Cleopatra and Aufidius are rendered psychologically inconsistent by the ...
... character consistency. This becomes evident as we move from Hamlet to Othello, and it is particularly clear in the final Roman plays, where characters such as Cleopatra and Aufidius are rendered psychologically inconsistent by the ...
Seite 1
... Character and Society in Shake- speare ( Oxford , 1951 ) ; and Geoffrey Bush , Shakespeare and the Natural Condition ( Cambridge , Mass . , 1956 ) . These writers , however , have denied the kinship of the moral vision to the religious ...
... Character and Society in Shake- speare ( Oxford , 1951 ) ; and Geoffrey Bush , Shakespeare and the Natural Condition ( Cambridge , Mass . , 1956 ) . These writers , however , have denied the kinship of the moral vision to the religious ...
Seite 2
... characters were envisaged to perform specific thematic functions . We are not concerned with Shakespeare's process of composition , if indeed we ever could determine it , but with the fusion of theme , action , character and language ...
... characters were envisaged to perform specific thematic functions . We are not concerned with Shakespeare's process of composition , if indeed we ever could determine it , but with the fusion of theme , action , character and language ...
Seite 3
... character consistency . This becomes evident as we move from Hamlet to Othello , and it is particularly clear in the final Roman plays , where characters such as Cleopatra and Aufidius are rendered psycho- logically inconsistent by the ...
... character consistency . This becomes evident as we move from Hamlet to Othello , and it is particularly clear in the final Roman plays , where characters such as Cleopatra and Aufidius are rendered psycho- logically inconsistent by the ...
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