Likenesses of Truth in Elizabethan and Restoration DramaClarendon Press, 1972 - Всего страниц: 174 |
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Стр. 33
... Shakespeare points out that from a literal point of view the whole theatrical situation is equally silly , since no play , whether it is good , bad , or indifferent , is more than an illusion : " The best in this kind are but shadows ...
... Shakespeare points out that from a literal point of view the whole theatrical situation is equally silly , since no play , whether it is good , bad , or indifferent , is more than an illusion : " The best in this kind are but shadows ...
Стр. 38
... Shakespeare . ' I have often thought ' , says Coleridge , ' of Shakespeare as the mighty wizard himself introducing . [ the ] fairest pledge of his so potent art.'8 And surely Coleridge's response is valid . For whatever the ...
... Shakespeare . ' I have often thought ' , says Coleridge , ' of Shakespeare as the mighty wizard himself introducing . [ the ] fairest pledge of his so potent art.'8 And surely Coleridge's response is valid . For whatever the ...
Стр. 144
... Shakespeare could not assume that his audience knew the story of Romeo and Juliet , and therefore he had to create his own kind of fixed fate , his own pattern of tragic inevitability . In Julius Caesar , Shakespeare can take our fore ...
... Shakespeare could not assume that his audience knew the story of Romeo and Juliet , and therefore he had to create his own kind of fixed fate , his own pattern of tragic inevitability . In Julius Caesar , Shakespeare can take our fore ...
Содержание
some dramatic and critical illusions and realities I | 1 |
theatrical illusions and realities in | 27 |
tragic facts | 51 |
Авторские права | |
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action actor alike Angelica Angelo argues audience behaviour Bellinda Brutus Cassius characters Claudio Collier comic Congreve Congreve's death dilemmas discussion dissembling Dorimant Dorimant's dramatic Duchess Duke Duke's Elizabethan emotional equivocation Etherege Etherege's fact Fainall Fainall's Faustus fools half of Measure Hamlet hero heroine human experience ideal illusions imagination Isabella Jeremy Collier Jonson judgement Julius Caesar justice King Lear Kyd's L. C. Knights Lady literal London Love for Love Loveit Macbeth Malcontent marriage Marston's Measure for Measure mercy Midsummer Night's Dream Millamant Mirabell Mirabell's Mode modern criticism moral moralistic nature never Oberon passion play play's playwright poet point of view Prospero reality religious imagery responses Restoration comedy Revenge Romeo and Juliet says scene seems Shakespeare Shakespeare gives shows social Spanish Tragedy stage Tempest theatre theatrical things tion tragic true truth ultimate Valentine Valentine's vices villain virtue William Congreve words