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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... play of a great dramatist will demand its own individual form. It is plain that the form of Peer Gynt is utterly different from that of Rosmersholrn or The Master Builder; that of Phedre from that of Be're'nice or Athalie; that of King ...
... play of a great dramatist will demand its own individual form. It is plain that the form of Peer Gynt is utterly different from that of Rosmersholrn or The Master Builder; that of Phedre from that of Be're'nice or Athalie; that of King ...
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... play and another, but he regards such characteristics as the credulity or jealousy of Othello, Macbeth's overweening ambition or Antony's sexual passion as of less significance than their pride. Another example of a good critic being ...
... play and another, but he regards such characteristics as the credulity or jealousy of Othello, Macbeth's overweening ambition or Antony's sexual passion as of less significance than their pride. Another example of a good critic being ...
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... play is so horrific that they would gladly transfer the responsibility to some other dramatist. Could Shakespeare, they asked, at any stage of his career have perpetrated this grand guignol melodrama of rape, mutilation, murder and ...
... play is so horrific that they would gladly transfer the responsibility to some other dramatist. Could Shakespeare, they asked, at any stage of his career have perpetrated this grand guignol melodrama of rape, mutilation, murder and ...
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... play is not a masterpiece, though it is partially effective on the stage. It differs in many respects from the later Roman plays in which Shakespeare made a real attempt at historical accuracy. As Professor Terence Spencer wittily ...
... play is not a masterpiece, though it is partially effective on the stage. It differs in many respects from the later Roman plays in which Shakespeare made a real attempt at historical accuracy. As Professor Terence Spencer wittily ...
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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