Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 63Gale Research Company, 1984 |
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Pagina 34
... audience for their patience , and asks them to put themselves in the actors ' shoes , as the actors put themselves in the audience's place , " ours be your patience then , and yours our parts . " While the King may have the audience ...
... audience for their patience , and asks them to put themselves in the actors ' shoes , as the actors put themselves in the audience's place , " ours be your patience then , and yours our parts . " While the King may have the audience ...
Pagina 156
... audience to share in his knowing superiority is uncomfortably appealing . Indeed , what place do " pity , love , and fear " have in the farce of politics ? The gap between appearance and intention widens with each play , until in the ...
... audience to share in his knowing superiority is uncomfortably appealing . Indeed , what place do " pity , love , and fear " have in the farce of politics ? The gap between appearance and intention widens with each play , until in the ...
Pagina 238
... audience , the very opposite of the sort of audience that Shakespeare would have wished for his own play . Through an act of negative symbolization strategically performed at the very core of Julius Caesar , Shakespeare treats his own ...
... audience , the very opposite of the sort of audience that Shakespeare would have wished for his own play . Through an act of negative symbolization strategically performed at the very core of Julius Caesar , Shakespeare treats his own ...
Inhoudsopgave
Character Studies | 21 |
Gender Issues | 41 |
Marriage | 84 |
Copyright | |
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Shakespearean Criticism: Excerpts from the Criticism of William ..., Volume 28 Fragmentweergave - 1984 |
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action actors All's Antony Antony's audience becomes bed-trick Bertram blood Brutus Brutus's Cade Cade's Cassius ceremony characters claim comedy comic conspirators Coriolanus Countess critics death desire Diana dramatic Duke Edward Elizabethan England English Epicurean essay father female feminine French gender Gentlemen of Verona Gloucester Helena Henry Henry VI Henry's heroic honor husband irony Jack Cade Joan Joan's Julia Julius Caesar King King's Lafew language Lavatch letter London lord male Mannerist Margaret marriage masculine means moral murder nature noble oath Parolles play play's plebeians plot Plutarch political Portia problem Problem Comedies Proteus Queen reading Renaissance rhetoric Richard Richard III ritual role Roman Rome says scene seems sexual Shake Shakespeare Silvia social soliloquy speak speare speare's speech spirit stage Suffolk suggests Talbot Tamburlaine theater theatrical thee thou Thurio tion tragedy unnatural Valentine virginity virtue Warwick wife woman women words York Yorkist