Patterns in Shakespearian TragedyRoutledge, 13 wrz 2013 - 224 First published in 1960. Patterns in Shakespearian Tragedy is an exploration of man's relation to his universe and the way in which it seeks to postulate a moral order. Shakespeare's development is treated accordingly as a growth in moral vision. His movement from play to play is carefully explored, and in the treatment of each tragedy the emphasis is on the manner in which its central moral theme shapes the various elements of drama |
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... true that there is a fundamental difference between a view of individual man derived from an erroneous conception of human physiology and a view of mankind based upon a cosmology which is philosophical rather than scientific , whose ...
... true that there is a fundamental difference between a view of individual man derived from an erroneous conception of human physiology and a view of mankind based upon a cosmology which is philosophical rather than scientific , whose ...
Strona 20
... true badge . ( I.i.112-19 ) Shakespeare poses the problem which is to occupy him in The Merchant of Venice and Measure for Measure : the relation of mercy to justice . Titus , like a later Shylock or Angelo , makes a wrong moral choice ...
... true badge . ( I.i.112-19 ) Shakespeare poses the problem which is to occupy him in The Merchant of Venice and Measure for Measure : the relation of mercy to justice . Titus , like a later Shylock or Angelo , makes a wrong moral choice ...
Strona 22
... True Tragedy of Richard III.2 Richard III had to be treated as a ' scourge of God ' who would castigate England for her sins , but who while inflicting punishment upon others would also damn his own soul . Such a conception called for a ...
... True Tragedy of Richard III.2 Richard III had to be treated as a ' scourge of God ' who would castigate England for her sins , but who while inflicting punishment upon others would also damn his own soul . Such a conception called for a ...
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Spis treści
1 | |
14 | |
King John Richard II Julius Caesar | 36 |
Hamlet | 65 |
Othello | 91 |
King Lear | 116 |
Timon of Athens and Macbeth | 137 |
Antony and Cleopatra and Coriolanus | 168 |
Index +55 14 36 65 91 116 137 168 | 203 |
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accept action already Antony appearance attain attempt audience becomes beginning bond Brutus Caesar calls cause character Christian Claudius clear Cleopatra comes concerned Coriolanus damnation death delusion deny Desdemona designed destroy destruction developed divine dramatic Elizabethan emphasize England evil fall father fear feeling final follow forces fortune function ghost give Gloucester God's Hamlet hand hero honour human Iago John justice kind King lead Lear Lear's learned lines live London Macbeth madness man's means moral murder nature never offer opposing Othello passion pattern play political pride reality reason reflects regeneration rejection represents revenge Richard Rome Romeo and Juliet scene sense serve Shake Shakespeare Shakespearian Tragedy shows sins soul specific speech spite stands story suffering symbol thee theme thou Timon Titus Andronicus tradition tragedy tragic true turn universe victory virtue Wilson York