Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Cengage Gale, 1999 - 420 страница Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Страница 210
... never fully understands or utilizes . But Caesar has un- derstood from the very first , as a messenger assures him , Thy biddings have been done ; and every hour , Most noble Caesar , shalt thou have report How ' tis abroad . ( 1.4.34-6 ) ...
... never fully understands or utilizes . But Caesar has un- derstood from the very first , as a messenger assures him , Thy biddings have been done ; and every hour , Most noble Caesar , shalt thou have report How ' tis abroad . ( 1.4.34-6 ) ...
Страница 281
... never kneels , either in emotional blackmail or in Lear's pathetic contrition ; and Clarissa never risks the step of fully resisting her father and of giving herself to Lovelace , which would have led either to marriage , or to a ...
... never kneels , either in emotional blackmail or in Lear's pathetic contrition ; and Clarissa never risks the step of fully resisting her father and of giving herself to Lovelace , which would have led either to marriage , or to a ...
Страница 295
... never lim'd no secret bushes fear : So guiltless she securely gives good cheer And reverend welcome to her princely guest , Whose inward ill no outward harm express'd . For that he colour'd with his high estate , Hiding base sin in ...
... never lim'd no secret bushes fear : So guiltless she securely gives good cheer And reverend welcome to her princely guest , Whose inward ill no outward harm express'd . For that he colour'd with his high estate , Hiding base sin in ...
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Representation and Reformation in Measure for Measure | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Lisa Hopkins Marriage as Comic Closure | 32 |
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actor Antony argues audience authority Bastard becomes Benedick body Caesar Chalmers character Christian claims Clarissa Cleopatra comedy comic complaint conventional Cordelia Coriolanus critics cultural death desire drama early modern edition Elizabeth Elizabethan England English erotic essay fact Falstaff father female figure Ganymede gender Hamlet Henry Henry VI Hippolyta homosexual identity Irving's Jessica Jewish Jews Joan John King King Lear language Lear Leontes lines London Lord lover Lover's Complaint Lucrece Macbeth magic male Margaret Marranos marriage Measure for Measure ment Merchant of Venice moral Oldcastle Ophelia performance Pericles Petrarchan play's poems poet political Polixenes Prince Protestant Queen reading reference reformation relationship Renaissance representation role scene seems sense sexual Shake Shakespeare Shylock social sodomy sonnet 20 sonnets speare's speech stage suggests theater theatrical thee Theseus thou tion Titus Andronicus tragedy University Press Winter's Tale woman women words York