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 13
... 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. Shakespeare's main interest was in the way action issued from character, or character ...
... 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. Shakespeare's main interest was in the way action issued from character, or character ...
Página 15
... death of Coriolanus is a 'sparagmos of the ritual victim by the whole social group'. There are, of course, fundamental differences between the scapegoat and the tragic hero. The audience, suffering with the hero, does not feel it is ...
... death of Coriolanus is a 'sparagmos of the ritual victim by the whole social group'. There are, of course, fundamental differences between the scapegoat and the tragic hero. The audience, suffering with the hero, does not feel it is ...
Página 18
... death of Elizabeth, when the sad augurs mocked their own presage; and there is no evidence to suggest that tragedies are written especially in times of uncertainty, change and disillusionment. It seems more likely that Shakespeare wrote ...
... death of Elizabeth, when the sad augurs mocked their own presage; and there is no evidence to suggest that tragedies are written especially in times of uncertainty, change and disillusionment. It seems more likely that Shakespeare wrote ...
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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