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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... forces of evil in the world. It seeks for answers to cosmic problems, much as religion seeks them, for it is a product of man's desire to believe in a purposive ordered universe.1 I propose to treat Shakespeare's development as a growth ...
... forces of evil in the world. It seeks for answers to cosmic problems, much as religion seeks them, for it is a product of man's desire to believe in a purposive ordered universe.1 I propose to treat Shakespeare's development as a growth ...
Seite 1
... forces of evil in the world . It seeks for answers to cosmic problems , much as religion seeks them , for it is a product of man's desire to believe in a purposive ordered universe.1 I propose to treat Shakespeare's development as a ...
... forces of evil in the world . It seeks for answers to cosmic problems , much as religion seeks them , for it is a product of man's desire to believe in a purposive ordered universe.1 I propose to treat Shakespeare's development as a ...
Seite 8
... forces of evil in the world , at least to pose it in such a way that new facets may be freshly illuminated in terms of human experience . If no two tragedies are exactly alike , it is because the questions with which they deal are ...
... forces of evil in the world , at least to pose it in such a way that new facets may be freshly illuminated in terms of human experience . If no two tragedies are exactly alike , it is because the questions with which they deal are ...
Seite 11
... force such diverse plays as Romeo and Juliet , Lear or Antony and Cleopatra into rigidly preconceived conceptions of tragedy into which they cannot fit . Shakespearian tragedy must be approached as a dynamic and not a static phenomenon ...
... force such diverse plays as Romeo and Juliet , Lear or Antony and Cleopatra into rigidly preconceived conceptions of tragedy into which they cannot fit . Shakespearian tragedy must be approached as a dynamic and not a static phenomenon ...
Seite 14
... forces of evil in the world . In Richard III Shakespeare finds himself with a tragic hero who has already been cast for him in conventional Senecan terms by several generations of writers . He is not , however , satisfied with what ...
... forces of evil in the world . In Richard III Shakespeare finds himself with a tragic hero who has already been cast for him in conventional Senecan terms by several generations of writers . He is not , however , satisfied with what ...
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