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 10
... sense of reconciliation is an essential ingredient of tragedy , of the Greek no less than the Elizabethan , and it was probably what Aristotle meant by katharsis . The Aristotelian principle of hamartia , or the tragic flaw , a con ...
... sense of reconciliation is an essential ingredient of tragedy , of the Greek no less than the Elizabethan , and it was probably what Aristotle meant by katharsis . The Aristotelian principle of hamartia , or the tragic flaw , a con ...
Seite 16
... sense of morality , seriousness and consistency'.2 But it is the very sense of morality and the serious purpose with which Shakespeare approached his crude unpalatable material which , above all else , make Titus Andronicus so much ...
... sense of morality , seriousness and consistency'.2 But it is the very sense of morality and the serious purpose with which Shakespeare approached his crude unpalatable material which , above all else , make Titus Andronicus so much ...
Seite 20
... sense of the honour which his emperor is ottering him cause him to forget that Lavinia has already been betrothed to another . A betrothal in Elizabethan England was a binding contract with all of the force of law ; to break it was to ...
... sense of the honour which his emperor is ottering him cause him to forget that Lavinia has already been betrothed to another . A betrothal in Elizabethan England was a binding contract with all of the force of law ; to break it was to ...
Seite 25
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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