Shakespeare's Early TragediesRoutledge, 11 d’oct. 2013 - 232 pàgines First published in 1968. Shakespeare's Early Tragedies contains studies of six plays: Titus Andronicus, Richard III, Romeo and Juliet, Richard II, Julius Caesar and Hamlet. The emphasis is on the variety of the plays, and the themes, a variety which has been too often obscured by the belief in a single 'tragic experience'. The kind of experience the plays create and their quality as dramatic works for the stage are also examined. These essays develop an understanding of Shakespeare's use of the stage picture in relation to the emblematic imagery of Elizabethan poetry. |
Des de l'interior del llibre
Resultats 1 - 5 de 85.
Pàgina 2
... play; but he did it, a hundred and fifty years after Shakespeare's death, with an air of discovery; and he certainly did not determine that because Market/9 was a superior play, Riebard III was therefore an uninteresting one. And in ...
... play; but he did it, a hundred and fifty years after Shakespeare's death, with an air of discovery; and he certainly did not determine that because Market/9 was a superior play, Riebard III was therefore an uninteresting one. And in ...
Pàgina 3
... play of the associative faculty later on (a distinction which suggests a preference for unconscious creation most inappropriate to Shakespeare's superb control at any stage of his career). So my first, and strongest, aim in this book is ...
... play of the associative faculty later on (a distinction which suggests a preference for unconscious creation most inappropriate to Shakespeare's superb control at any stage of his career). So my first, and strongest, aim in this book is ...
Pàgina 4
... play that end aptly in death, sometimes rehandling in later years themes which he had tackled very early in his career. For the themes of a play, and the kinds of people and event with which it deals, are its core and centre of interest ...
... play that end aptly in death, sometimes rehandling in later years themes which he had tackled very early in his career. For the themes of a play, and the kinds of people and event with which it deals, are its core and centre of interest ...
Pàgina 5
Nicholas Brooke. which the play has, is a very different thing from the inevitability of Hamlet's end which seems rather to be brought about by accident in the last few minutes of the play. Hamlet, of course, has not been neglected, and ...
Nicholas Brooke. which the play has, is a very different thing from the inevitability of Hamlet's end which seems rather to be brought about by accident in the last few minutes of the play. Hamlet, of course, has not been neglected, and ...
Pàgina 10
... play does not necessarily depend on a strong narrative interest, and it may take very little account of the time sequence ... play's significance evolves, and becomes known as a completed whole only with its last action which may simply ...
... play does not necessarily depend on a strong narrative interest, and it may take very little account of the time sequence ... play's significance evolves, and becomes known as a completed whole only with its last action which may simply ...
Continguts
1 | |
13 | |
Richard III 1593? | 48 |
Romeo and Juliet 1595 | 80 |
Richard II 1595 | 107 |
Julius Caesar 1599 | 138 |
Hamlet 16001 | 163 |
Selective Bibliography | 207 |
Index | 211 |
Altres edicions - Mostra-ho tot
Frases i termes més freqüents
Aaron action Antony audience beast becomes blank verse blood Bolingbroke Brutus Caesar Cassius character choric Clarence’s Claudius climax comedy comic confidence conflict conscience contrast course critical curse death divine doth Dover Wilson dramatic dream earlier plays echoes Edward’s emblem emblematic emerges established fact Faerie Queene figure final finally find fire first fit flesh formal fulfil ghost Hamlet hath heaven and hell heroic Horatio human irony julius Caesar kind king Laertes later Lavinia Lucius magnificent Marcus Margaret Mercutio murder night nobility noble obvious Ophelia pattern play’s poetic poetry political Polonius prose Queen Queen Mab question reflection revenge rhetorical Richard Richard II ritual Roman Rome Romeo and Juliet Saturninus scene seems sense sequence Shakespeare significance simple soliloquy specific speech stage stress structure suggested T. S. Eliot Tamora thee theme thou tion Titer Titus Titus Andronicus tone tragedy tragic utterance verse words