The World & Art of ShakespeareIsrael Universities Press, 1967 - 285 pagini |
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Pagina 10
... critics of the 17th and 18th centuries could not accept without very major reservations the rules and concepts of the drama drawn up by European critics from the 16th century onward was that Shakespeare did not fit into these ideal ...
... critics of the 17th and 18th centuries could not accept without very major reservations the rules and concepts of the drama drawn up by European critics from the 16th century onward was that Shakespeare did not fit into these ideal ...
Pagina 269
... critic might examine any play or group of plays for revelations of the underlying culture - patterns of the Renaissance ... critics brought up on the simpliste doctrines of strict neo- classicism found him wanting in these ' geometric ...
... critic might examine any play or group of plays for revelations of the underlying culture - patterns of the Renaissance ... critics brought up on the simpliste doctrines of strict neo- classicism found him wanting in these ' geometric ...
Pagina 270
... critics as the supreme example of the untutored genius , ' warbling his native woodnotes wild ' , as Milton described him . Till the nineteenth century , the standard view that persisted was of the happy - go - lucky , hit - or - miss ...
... critics as the supreme example of the untutored genius , ' warbling his native woodnotes wild ' , as Milton described him . Till the nineteenth century , the standard view that persisted was of the happy - go - lucky , hit - or - miss ...
Cuprins
SHAKESPEARE AND THE DRAMATIC TRADITION 12 2 2 4 2 5 6 | 10 |
THE ELIZABETHAN THEATRE | 23 |
IDOLA THEATRI | 36 |
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accept action actors Antony appear attitude audience awareness becomes beginning bring Caesar called century character Christian Cleopatra close comedy contrast conventions corrupt court critics daughter death demand drama earlier effect Elizabethan England English evil example expression fact fall Falstaff father feeling finally follow fool friends give Hamlet hand hath Henry hero honour human important indicate Italy killed kind king later leads Lear less live lovers means mind moral murder nature never noble once opening Othello passion patterns performed Plautus play plot presented Prince reason referred rejection represented revealed revenge Richard romantic scene sense serve Shakespeare shows speak speech stage stresses symbolic theatre theme things thou tragedy true turn values virtue whole young