Shakespeare's Tragic SequenceRoutledge, 11/10/2013 - 216 páginas First published in 1972. The emphasis of this book is that each of Shakespeare's tragedies demanded its own individual form and that although certain themes run through most of the tragedies, nearly all critics refrain from the attempt to apply external rules to them. The plays are almost always concerned with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval idea of the reversal of fortune. |
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Página 11
... character, and by denying that such works are to be judged by the standard of pure tragedy. In any case, most of the plays, perhaps all, do show, as a matter of fact, considerable deviations from that standard. Without presuming to know ...
... character, and by denying that such works are to be judged by the standard of pure tragedy. In any case, most of the plays, perhaps all, do show, as a matter of fact, considerable deviations from that standard. Without presuming to know ...
Página 13
... character, or character issued in action. In most of his tragedies chance or accident has an appreciable influence. So far so good; but Bradley continues:3 In the circumstances where we see the hero placed, his tragic trait, which is ...
... character, or character issued in action. In most of his tragedies chance or accident has an appreciable influence. So far so good; but Bradley continues:3 In the circumstances where we see the hero placed, his tragic trait, which is ...
Página 16
... character reveals itself in choice gains a new urgency. . . . In fact, of course, it would be well-nigh impossible to isolate the crucial moral act among the thousands of venial sins committed by the ordinary human being. But the tragic ...
... character reveals itself in choice gains a new urgency. . . . In fact, of course, it would be well-nigh impossible to isolate the crucial moral act among the thousands of venial sins committed by the ordinary human being. But the tragic ...
Página 19
... character and of expressing the most delicate nuances; and his company had evolved a style of acting of comparable subtlety, so that audiences seemed to hear men talking rather than actors declaiming. Shakespeare must have realised that ...
... character and of expressing the most delicate nuances; and his company had evolved a style of acting of comparable subtlety, so that audiences seemed to hear men talking rather than actors declaiming. Shakespeare must have realised that ...
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Índice
| 9 | |
| 11 | |
| 20 | |
3 Julius Caesar
| 42 |
4 Hamlet
| 55 |
5 Othello
| 93 |
6 King Lear
| 117 |
7 Macbeth
| 142 |
8 Antony and Cleopatra
| 156 |
9 Coriolanus
| 172 |
10 Timon of Athens
| 187 |
Notes
| 197 |
Index | 205 |
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Palavras e frases frequentes
action Antony Antony and Cleopatra Antony’s argued audience avenger Banquo behaviour Bradley Brutus Caesar Cassius character Claudius Claudius’s Cleopatra Coleridge confesses conflict conscience contrast Cordelia Coriolanus critics death declares deed Desdemona devil difficult dramatist Edgar Elizabethan evil father fear figure final finally find first scene fit flatterers flesh fool Gertrude Ghost Gloucester gods Goneril Guildenstern guilty Hamlet hates hath heart heaven Horatio horror Iago Iago’s imagery images influence jealous Juliet kill King Lear King’s L. C. Knights Laertes Lear’s lovers man’s Menenius merely mind moral mother murder nature night noble Ophelia Othello passion play Plutarch poet Polonius Professor Queen realise reflection regarded revealed revenge Richard Roderigo Romeo Rosencrantz sacrifice says Shakespeare significant soliloquy soul speaks speech spirit suggested suicide tells thee There’s thou thought Timon Timon of Athens Titus Andronicus tragedy tragic hero villain virtue wife Wilson Knight words