ShakespeareRoutledge, 2013 M10 11 - 208 páginas First published in 1951. |
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... critics who maintain that to approach a Shakespeare play expecting this is a mistake. It has been claimed by some that the characters we encounter in Shakespeare, and the situations, are not in all cases such as we should be likely to ...
... critics who maintain that to approach a Shakespeare play expecting this is a mistake. It has been claimed by some that the characters we encounter in Shakespeare, and the situations, are not in all cases such as we should be likely to ...
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... criticism of Shakespeare. Our space is limited, and we can deal with only one play. I choose Othello, because Professor Stoll calls it “the crucial case.” “Here,” he declares, speaking of Othello, “in its most complete and fruitful, but ...
... criticism of Shakespeare. Our space is limited, and we can deal with only one play. I choose Othello, because Professor Stoll calls it “the crucial case.” “Here,” he declares, speaking of Othello, “in its most complete and fruitful, but ...
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... criticism has resulted, Stoll claims, from critics taking fiction for fact. “They turn the impossibilities into possibilities, and the poetry into prose; . . their ears are caught by the weaker accents, not the stronger.” What ...
... criticism has resulted, Stoll claims, from critics taking fiction for fact. “They turn the impossibilities into possibilities, and the poetry into prose; . . their ears are caught by the weaker accents, not the stronger.” What ...
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George Ian Duthie. But many critics have taken his plays—and many still do-— as if they were entirely concerned with trains of events and with psychological developments in actual life. “The trouble with Shakespeare criticism,” says ...
George Ian Duthie. But many critics have taken his plays—and many still do-— as if they were entirely concerned with trains of events and with psychological developments in actual life. “The trouble with Shakespeare criticism,” says ...
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Contenido
7 | |
9 | |
Chapter II Shakespeare and the OrderDisorder Antithesis | 39 |
Chapter III Comedy | 57 |
Chapter IV Imaginative Interpretation and Troilus and Cressida | 89 |
Chapter V History | 115 |
Chapter VI Tragedy | 157 |
Chapter VII The Last Plays | 188 |
Book List | 201 |
Index | 205 |
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according Achilles antithesis audience Aufidius Belarius believe Bolingbroke character Claudius comedy concerned conflict Coriolanus court Cressida criticism Cymbeline deed deposed Desdemona disorder-figures disordered personality doth Dover Wilson dramatic Duke Elizabethan evil fact Falstaff father feel fight figure final find first forest of Arden foul gives God’s Greek Guiderius Hamlet hath Hector Henry Henry IV plays Henry’s hero honour Hotspur Iago idea imaginative influence interpretation king King Lear L. C. Knights Lady Macbeth law of order Lear lover Machiavelli Malvolio man’s means mind moral murder nature Olivia Othello passion poetic Posthumus Prince Professor Dover Professor Stoll psychological reader reason regards Richard Richard II Rome satire says scene Shake Shakespeare play Shakespeare wants Shakespearian significance Sir Toby speaks subconscious suggested Tamburlaine theme things thou tragedy Troilus Troilus and Cressida true Twelfth Night universe unnatural usurpation wife Wilson Knight Witches words wrong