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. |
Im Buch
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Seite 1
... essentially Petrarchist, to sift the good poems, regardless of school or of method, from the bad, we shall find that the Petrarchist movement produced nothing worth remembering between Skelton and Sidney, in spite of a tremendous amount ...
... essentially Petrarchist, to sift the good poems, regardless of school or of method, from the bad, we shall find that the Petrarchist movement produced nothing worth remembering between Skelton and Sidney, in spite of a tremendous amount ...
Seite 2
... essentially, a form of literature and so minimizes its non-linguistic elements. And finally, to the extent that the model for analysing verse derives from the study of short poems, the question might focus attention on isolated passages ...
... essentially, a form of literature and so minimizes its non-linguistic elements. And finally, to the extent that the model for analysing verse derives from the study of short poems, the question might focus attention on isolated passages ...
Seite 3
... essentially a form of literature because of the central place that language holds in the human world. The imitation of human action can hardly avoid a fact so important. For a similar reason, the language of a play should bear close ...
... essentially a form of literature because of the central place that language holds in the human world. The imitation of human action can hardly avoid a fact so important. For a similar reason, the language of a play should bear close ...
Seite 22
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Inhalt
1 | |
7 | |
3 Tragedy and history in Richard II | 46 |
the moral and the golden | 56 |
the metaphysical and the Shakespearean | 77 |
style and the character of Bolingbroke | 106 |
style and the character of Richard | 114 |
8 Tragic doings political order and the closed couplet | 144 |
bombast and wonder | 168 |
style and form | 196 |
Notes | 221 |
Index | 253 |
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Häufige Begriffe und Wortgruppen
Achmat action Altick Aristotle attempt blank verse Bolingbroke bombastic caesura Camena character closed couplet Coleridge Coleridge’s critical Cunningham death deflected despite drama dramatist Elizabethan eloquent style emotional effects England English essentially expression F. R. Leavis fear feeling Gaunt Gaunt’s Gaunt’s speech Greville Greville’s heroic couplet high style Howard Baker human imagery images imitation individual influence intention J. V. Cunningham John of Gaunt kind king’s language Leavis libertine London lyric Macbeth means metaphor metaphysical metaphysical poetry moral style murder Mustapha nation native plain style nature one’s passage Petrarchan phrase play poem poet poetic styles poetry present question remarks reprinted rhetoric Richard II Richard the Second Rossa scene sense sermo humilis Shakespeare Sidney Sidney’s soliloquy stanza subjunctive suggests Tamburlaine thee things thou thought tion Titus Andronicus traditional tragedy tragic truth University Press Winters’s wonder word York’s Yvor Winters