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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... Tradition (London, 1944). Dramatic illusion requires that the audience accept the author's creations as fellow human beings for the duration of the play, and that what these characters do seems reasonable in terms of emotions which the ...
... Tradition (London, 1944). Dramatic illusion requires that the audience accept the author's creations as fellow human beings for the duration of the play, and that what these characters do seems reasonable in terms of emotions which the ...
Seite 2
... and Spenser ( Prince- ton , 1950 ) , particularly pp . 75-110 , and by S. L. Bethell , Shakespeare and the Popular Dramatic Tradition ( London , 1944 ) . dimensions of tragedy he concentrated more and more on the 2 Introduction.
... and Spenser ( Prince- ton , 1950 ) , particularly pp . 75-110 , and by S. L. Bethell , Shakespeare and the Popular Dramatic Tradition ( London , 1944 ) . dimensions of tragedy he concentrated more and more on the 2 Introduction.
Seite 3
... tradition in which Shakespeare worked was dif- ferent from the nineteenth - century naturalist theatre which has so profoundly affected the drama of our own time . A weakness of Bradley's work , 1 great and perceptive as it undoubtedly ...
... tradition in which Shakespeare worked was dif- ferent from the nineteenth - century naturalist theatre which has so profoundly affected the drama of our own time . A weakness of Bradley's work , 1 great and perceptive as it undoubtedly ...
Seite 4
... tradition which has its roots securely in medieval life . The Elizabethan stage was not primarily a realistic one . It was , 1 I refer particularly to Levin Schucking , Character Problems in Shakespeare's Plays ( London , 1922 ) , and ...
... tradition which has its roots securely in medieval life . The Elizabethan stage was not primarily a realistic one . It was , 1 I refer particularly to Levin Schucking , Character Problems in Shakespeare's Plays ( London , 1922 ) , and ...
Seite 5
... tradition . The medieval heritage is important because many of the traditional complexes of character and event which comprise Elizabethan and Jacobean tragedy were shaped in the Middle Ages as vehicles for peculiarly medieval views of ...
... tradition . The medieval heritage is important because many of the traditional complexes of character and event which comprise Elizabethan and Jacobean tragedy were shaped in the Middle Ages as vehicles for peculiarly medieval views of ...
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