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 23
... human , human in its sympa- thies and in its antipathies , human in its selfishness , in its kindliness , in its obstinacy , in its yieldingness - human , in short , in its constitution , its purpose , its aim , and its end . A spoiled ...
... human , human in its sympa- thies and in its antipathies , human in its selfishness , in its kindliness , in its obstinacy , in its yieldingness - human , in short , in its constitution , its purpose , its aim , and its end . A spoiled ...
Page 164
... human father driven to madness . It insists on the human qualities staining the imperial marble . At one sentimental extreme , that was particularly popular in the nineteenth century , Lear was simply the grieved Father : kind , gentle ...
... human father driven to madness . It insists on the human qualities staining the imperial marble . At one sentimental extreme , that was particularly popular in the nineteenth century , Lear was simply the grieved Father : kind , gentle ...
Page 179
... human , domestic context . In addition , the focus on the principal dramatic triangle and the absence of supernatural powers - such as the witches and ghosts that populate the other tragedies and serve as interme- diaries in the course ...
... human , domestic context . In addition , the focus on the principal dramatic triangle and the absence of supernatural powers - such as the witches and ghosts that populate the other tragedies and serve as interme- diaries in the course ...
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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