Shakespeare's TragediesRoutledge, 11 paź 2013 - 280 First published in 1951. |
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Strona 13
... speeches . Many touches , therefore , which the modern reader only understands after it has been demonstrated to him , Shakespeare's audience appreciated by instinct . It was a receptive , sensitive , vibrant instrument which responded ...
... speeches . Many touches , therefore , which the modern reader only understands after it has been demonstrated to him , Shakespeare's audience appreciated by instinct . It was a receptive , sensitive , vibrant instrument which responded ...
Strona 16
... speeches in prose or verse to be read by the solitary reader , but an experience to be created and shared between the actors and their spectators . The words printed in the volume called Hamlet are thus not the drama of Hamlet , any ...
... speeches in prose or verse to be read by the solitary reader , but an experience to be created and shared between the actors and their spectators . The words printed in the volume called Hamlet are thus not the drama of Hamlet , any ...
Strona 22
... speech is through the ear , and not by way of printed matter through the eye . In the meanwhile , most of us must continue perforce to approach Shakespeare's tragedies through the book . Certain warnings , however , are necessary even ...
... speech is through the ear , and not by way of printed matter through the eye . In the meanwhile , most of us must continue perforce to approach Shakespeare's tragedies through the book . Certain warnings , however , are necessary even ...
Strona 24
... speech flow rapidly before him ; his eyes and his ears are open to what is to come , and the speech of three minutes ago is already almost forgotten . As with place and time , so is it with the details of character . We must not allow ...
... speech flow rapidly before him ; his eyes and his ears are open to what is to come , and the speech of three minutes ago is already almost forgotten . As with place and time , so is it with the details of character . We must not allow ...
Strona 31
... speech , they expected also plenty of action . Seneca confined the congealed gore and heaving gobbets to the language of messengers ; Kyd concealed nothing . Reticence comes late in artistic development . Shakespeare's artistic ...
... speech , they expected also plenty of action . Seneca confined the congealed gore and heaving gobbets to the language of messengers ; Kyd concealed nothing . Reticence comes late in artistic development . Shakespeare's artistic ...
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