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 8
... suffering and dying , it wonders with him if the universe is indeed so ordered and just as man's most basic impulses compel him to believe . In the relief of this doubt lies the exultation and the renewed acceptance of life for which ...
... suffering and dying , it wonders with him if the universe is indeed so ordered and just as man's most basic impulses compel him to believe . In the relief of this doubt lies the exultation and the renewed acceptance of life for which ...
Seite 9
... suffering to human joy becomes apparent , and out of this must come the 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 ...
... suffering to human joy becomes apparent , and out of this must come the 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 ...
Seite 16
... suffering ; it is essentially melodrama and not tragedy at all . In terms of dramatic craftsmanship alone , Titus Andronicus is superior to The Spanish Tragedy . It does not have the divided action of Kyd's play , with the ghost of ...
... suffering ; it is essentially melodrama and not tragedy at all . In terms of dramatic craftsmanship alone , Titus Andronicus is superior to The Spanish Tragedy . It does not have the divided action of Kyd's play , with the ghost of ...
Seite 21
... suffer by the evil forces which his own sins have un- leashed upon him . By the second scene of the third act , Titus ... suffering which comes to Lavinia and Titus , and in the promise of a new day for Rome with the coming of Lucius and ...
... suffer by the evil forces which his own sins have un- leashed upon him . By the second scene of the third act , Titus ... suffering which comes to Lavinia and Titus , and in the promise of a new day for Rome with the coming of Lucius and ...
Seite 26
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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