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Page 18
The action , it seems , will be over before it has even begun ; the play threatens to contract itself into the few moments needed to utter the sentence and chop off the head . Such an end seems altogether too forbidding and abrupt .
The action , it seems , will be over before it has even begun ; the play threatens to contract itself into the few moments needed to utter the sentence and chop off the head . Such an end seems altogether too forbidding and abrupt .
Page 250
Actors emote and they speak daggers , but the theatrical mode of action does not include actual stabbing . This may imply that any role undertaken in an actorly way will not lead to “ real ” action even if strong emotion is felt .
Actors emote and they speak daggers , but the theatrical mode of action does not include actual stabbing . This may imply that any role undertaken in an actorly way will not lead to “ real ” action even if strong emotion is felt .
Page 261
Hamlet indicates no awareness that he has come to be at all like Claudius in craftiness or that his actions have been base . ... But his action here carries out his earlier intention to use craft to destroy Rosencrantz and Guildenstern ...
Hamlet indicates no awareness that he has come to be at all like Claudius in craftiness or that his actions have been base . ... But his action here carries out his earlier intention to use craft to destroy Rosencrantz and Guildenstern ...
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Contents
Geraldo U de Sousa The Peasants Revolt and the Writing of History in 2 Henry | 105 |
Martha A Kurtz Rethinking Gender and Genre in the History Play | 122 |
Steve Longstaffe The Limits of Modernity in Shakespeares King John | 132 |
Copyright | |
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Common terms and phrases
action appears argues argument attempt audience authority becomes body Brutus called Cambridge cause character claim comedy concern course critics cultural death desire Drama Duke early effect Elizabethan England English fact father feel figure final follows force gender give Hamlet hand head Henry Henry's Holinshed human idea John John's kind King language Lear less lines live London Lord marriage means moral nature never noble once opening performance person Plautus play play's political position possible present Press produce question reference relation Renaissance response rhetoric Richard role says scene seems sense sexual Shakespeare social society speak speech stage Studies suggests Talbot tells things Thomas thought tion tradition true turn Twelfth Night women writing York young
Bibliographic information
| Title | Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 37 Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Laurie Lanzen Harris |
| Contributor | Gale Research Company |
| Publisher | Gale Research Company, 1998 |
| ISBN | 0787611352, 9780787611354 |
| Export Citation | BiBTeX EndNote RefMan |