Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 11Gale Research Company, 1984 |
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Page 341
... action and about which the action clusters ; or which at an especially poi- gnant moment helps to crystallise and universalise it . A na- ture - force , or a god - force , or a magic - force . dominate and all but fill the whole action ...
... action and about which the action clusters ; or which at an especially poi- gnant moment helps to crystallise and universalise it . A na- ture - force , or a god - force , or a magic - force . dominate and all but fill the whole action ...
Page 356
... action and the prevailing view of reality in the play . The conception of the " inner stage " really means the impor- tation into a play like Othello of grounds of credibility and significance according to our modern lights ; and these ...
... action and the prevailing view of reality in the play . The conception of the " inner stage " really means the impor- tation into a play like Othello of grounds of credibility and significance according to our modern lights ; and these ...
Page 358
... action in such terms , instead of importing into the play a need for such literal and unauthorized locales as " The Garden of the Castle " , Othello's vow " by yond marble heaven " at the end of the scene can occur , not merely without ...
... action in such terms , instead of importing into the play a need for such literal and unauthorized locales as " The Garden of the Castle " , Othello's vow " by yond marble heaven " at the end of the scene can occur , not merely without ...
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action actor admirable appeared audience Barry beauty Booth Brabantio Brook Cassio century character Cibber conception Cordelia costumes critic curtain daughters David Garrick Desdemona Donald Wolfit dramatic Drury Lane Edgar Edmund Edmund Kean Edwin Booth effect Elizabethan Emilia emotional essay date expression eyes feel Fool Forrest Garrick gesture give Gloucester Goneril heart Henry Irving Iago Iago's imagination interpretation Irving Irving's jealousy John Gielgud Kean Kean's Kemble Kent King Lear Lear's lines London look Macready mance ment mind Miss Moor nature never night noble Old Vic Olivier Olivier's Othello passion pathos performance Peter Brook play's players portrayal rage Regan review date Robeson Roderigo role Romeo and Juliet Salvini scene Scofield seems sense Shake Shakespeare speak speech stage storm Stratford suggested Theatre theatrical thing thou thought tion Tommaso Salvini tone tragedy tragic voice whole Wolfit words