Shakespeare's TragediesRoutledge, 11 paź 2013 - 280 First published in 1951. |
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Strona 5
... follows the original Folio or Quartos more closely than any other modern text , and will , therefore , at times present readings and punctuations which are startling to those familiar with the Globe , but closer to the original plays as ...
... follows the original Folio or Quartos more closely than any other modern text , and will , therefore , at times present readings and punctuations which are startling to those familiar with the Globe , but closer to the original plays as ...
Strona
... follow the old paths and regard the tragedy of 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 ...
... follow the old paths and regard the tragedy of 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 ...
Strona 10
... follow the old paths and regard the tragedy of 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 ...
... follow the old paths and regard the tragedy of 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 ...
Strona 13
... follow every track , wherever it may lead . Nothing , indeed , is irrelevant for the Shakespearean scholar , who must take all Elizabethan knowledge as his particular field . He is thus concerned with Shakespeare himself , his family ...
... follow every track , wherever it may lead . Nothing , indeed , is irrelevant for the Shakespearean scholar , who must take all Elizabethan knowledge as his particular field . He is thus concerned with Shakespeare himself , his family ...
Strona 17
... follows that the play , the original script provided by the author for the actors , must itself be powerful ; but when we try to consider how this emotional effect is to be produced we meet a fundamental but common difficulty . The word ...
... follows that the play , the original script provided by the author for the actors , must itself be powerful ; but when we try to consider how this emotional effect is to be produced we meet a fundamental but common difficulty . The word ...
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