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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Seite 9
... feeling of recon- ciliation with which every one of Shakespeare's tragedies ends , and which critics of the most divergent views have recognized . This common goal allies tragedy to religion . Historically , we have always known that ...
... feeling of recon- ciliation with which every one of Shakespeare's tragedies ends , and which critics of the most divergent views have recognized . This common goal allies tragedy to religion . Historically , we have always known that ...
Seite 10
... feeling and idea , between our emotional involvement in a specific situation and our rational contemplation of its meaning . When we recognize the affinity of tragedy to the religious ex- perience , we see why a cardinal element in the ...
... feeling and idea , between our emotional involvement in a specific situation and our rational contemplation of its meaning . When we recognize the affinity of tragedy to the religious ex- perience , we see why a cardinal element in the ...
Seite 21
... feeling of despair , but with a renewed acceptance of divine order and purpose . This feeling of reconciliation is supported by the destruction of evil , which in spite of Titus ' damnation vindicates divine justice . The audience ...
... feeling of despair , but with a renewed acceptance of divine order and purpose . This feeling of reconciliation is supported by the destruction of evil , which in spite of Titus ' damnation vindicates divine justice . The audience ...
Seite 32
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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