Shakespeare's Poetic Styles: Verse into DramaRoutledge, 11.10.2013 - 272 Seiten First published in 1980. At their most successful, Shakespeare's styles are strategies to make plain the limits of thought and feeling which define the significance of human actions. John Baxter analyses the way in which these limits are reached, and also provides a strong argument for the idea that the power of Shakespearean drama depends upon the co-operation of poetic style and dramatic form. Three plays are examined in detail in the text: The Tragedy of Mustapha by Fulke Greville and Richard II and Macbeth by Shakespeare. |
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... plain style,2 and the 1939 essay from which the sentenceis quoted initiated ... style have been corroborated and refined by a number of scholars and critics ... native, plain, drab, flat, didactic, or moral. While there is no reason to ...
... plain style,2 and the 1939 essay from which the sentenceis quoted initiated ... style have been corroborated and refined by a number of scholars and critics ... native, plain, drab, flat, didactic, or moral. While there is no reason to ...
Seite 1
... native plain style , 2 and the 1939 essay from which the sentence is quoted initiated a radical revaluation of English poetry in the sixteenth century . Not all subsequent writers on the subject agree with Winters's emphases , but C. S. ...
... native plain style , 2 and the 1939 essay from which the sentence is quoted initiated a radical revaluation of English poetry in the sixteenth century . Not all subsequent writers on the subject agree with Winters's emphases , but C. S. ...
Seite 2
... style now have numerous advocates , and the two styles have been variously called Petrarchan , eloquent , golden , sweet , pleasant , or sugared ; and native , plain , drab , flat , didactic , or moral . While there is no reason to ...
... style now have numerous advocates , and the two styles have been variously called Petrarchan , eloquent , golden , sweet , pleasant , or sugared ; and native , plain , drab , flat , didactic , or moral . While there is no reason to ...
Seite 9
... plain style and the native plain style . Sidney's defence of this school , then , is not necessarily quite the avant garde critical outlook that Hardison suggests . Finally , though one must sympathize with Hardison on this point , it ...
... plain style and the native plain style . Sidney's defence of this school , then , is not necessarily quite the avant garde critical outlook that Hardison suggests . Finally , though one must sympathize with Hardison on this point , it ...
Seite 37
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Inhalt
7 | |
Tragedy and history in Richard II | 46 |
the moral and the golden | 56 |
the metaphysical and | 77 |
style and the character | 106 |
style and the character | 114 |
Tragic doings political order | 144 |
bombast and wonder | 168 |
style and form | 196 |
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Häufige Begriffe und Wortgruppen
achieve action analysis appear appropriate attempt beginning Bolingbroke calls cause character claims clear clearly close couplet critical death despite drama earth effect Elizabethan emotional England English especially essentially example experience expression fact fear feeling figure finally Gaunt give golden style Greville hand human idea imagery images imagination imitation important individual intention John kind king language least less live London Macbeth matter means metaphysical mind moral murder Mustapha nature offers once opening passage plain style play poem poetic poetry political possible present problem question reality reason reference remarks represented rhetoric Richard Richard II scene seems sense Shakespeare simply soliloquy speak speech suggests things thou thought tion traditional tragedy tragic true truth understanding University Press verse whole Winters wonder York