Shakespeare's TragediesRoutledge, 11 paź 2013 - 280 First published in 1951. |
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Strona 5
... Lear and Macbeth - were delivered as the Alexander Lectures before the University of Toronto in November 1947 . I wish to thank that learned and hospitable body for the honour of the invitation , and for their permission to publish the ...
... Lear and Macbeth - were delivered as the Alexander Lectures before the University of Toronto in November 1947 . I wish to thank that learned and hospitable body for the honour of the invitation , and for their permission to publish the ...
Strona 7
... AND JULIET 4. JULIUS CAESAR 5. HAMLET 6. TROYLUS AND CRESSIDA 7. OTHELLO 8. KING LEAR 9. MACBETH 10. ANTONY AND CLEOPATRA 11. CORIOLANUS 12. TIMON OF ATHENS EPILOGUE INDEX page s 9 30 47 65 88 III 131 158 184 203 227 253 271 . 275.
... AND JULIET 4. JULIUS CAESAR 5. HAMLET 6. TROYLUS AND CRESSIDA 7. OTHELLO 8. KING LEAR 9. MACBETH 10. ANTONY AND CLEOPATRA 11. CORIOLANUS 12. TIMON OF ATHENS EPILOGUE INDEX page s 9 30 47 65 88 III 131 158 184 203 227 253 271 . 275.
Strona
... Lear in the light of Aristotle's precepts as a fine example of catharsis, the tragic hero, the reversal of the situation, the recognition, and so forth; or, speculating on the use of the balcony or inner stage, as a problem in Jacobean ...
... Lear in the light of Aristotle's precepts as a fine example of catharsis, the tragic hero, the reversal of the situation, the recognition, and so forth; or, speculating on the use of the balcony or inner stage, as a problem in Jacobean ...
Strona 10
... Lear in the light of Aristotle's precepts as a fine example of catharsis , the tragic hero , the reversal of the situation , the recognition , and so forth ; or , speculating on the use of the balcony or inner stage , as a problem in ...
... Lear in the light of Aristotle's precepts as a fine example of catharsis , the tragic hero , the reversal of the situation , the recognition , and so forth ; or , speculating on the use of the balcony or inner stage , as a problem in ...
Strona 12
... Lear , for all plays are written to be acted on a particular kind of stage , and the form of the drama - that is , its manner of presentation and therefore its writing - must conform to the conventions familiar to the spectators . Greek ...
... Lear , for all plays are written to be acted on a particular kind of stage , and the form of the drama - that is , its manner of presentation and therefore its writing - must conform to the conventions familiar to the spectators . Greek ...
Spis treści
9 | |
30 | |
ROMEO AND JULIET | 47 |
JULIUS CAESAR | 65 |
HAMLET | 88 |
TROYLUS AND CRESSIDA III | 111 |
OTHELLO | 131 |
KING LEAR | 158 |
MACBETH | 184 |
ANTONY AND CLEOPATRA | 203 |
CORIOLANUS | 227 |
TIMON OF ATHENS | 253 |
EPILOGUE | 271 |
INDEX | 275 |
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Achilles action already answer Antony appears asks audience becomes begins blood breaks bring Brutus Caesar called Capulet Cassio cause character Cleopatra close comes common Cordelia Coriolanus critics curtains dead death deep Desdemona direction drama effect Elizabethan emotions enters eyes father feeling final follows fortunes friends give Gloucester goes Hamlet hand hath heart honour Iago interest Juliet kill kind King Lady later Lear least leaving less lines live look Lord Macbeth matter means mind moral mother moved murder nature never night once Othello passes person play present reading realize reason replies returns reveals revenge Rome Romeo scene sense Shakespeare shows soliloquy speak speech stage stand story tell thee thing thou thought Timon Titus tragedy Troylus true turns usually wife young