Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 21Gale Research Company, 1984 - 461 pages This detailed series provides comprehensive coverage of critical interpretations of the plays of Shakespeare. The volume focus on the history of Shakespeare's play Hamlet on the stage and in important film adaptations. |
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Page 35
... effect to the short curled wig at present worn . The eyes seemed to possess more brilliancy . With regard to costume , correctness in ei- ther case is out of the question , only that the Vandyke habit is preferable , as it removes a ...
... effect to the short curled wig at present worn . The eyes seemed to possess more brilliancy . With regard to costume , correctness in ei- ther case is out of the question , only that the Vandyke habit is preferable , as it removes a ...
Page 128
... effect on the stage , albeit it is rather in- congruous to find Hamlet stigmatizing his youthful moth- er as one the heyday of whose blood is tame . But it is clear that the process ought , for consistency's sake , to be carried further ...
... effect on the stage , albeit it is rather in- congruous to find Hamlet stigmatizing his youthful moth- er as one the heyday of whose blood is tame . But it is clear that the process ought , for consistency's sake , to be carried further ...
Page 356
... effect , that of focusing attention not on the actors who used it but upon the stage proper . Thus , when the Ghost had led Hamlet on to the stage , both turned , so that the Ghost delivered his narrative straight out to the audi- ence ...
... effect , that of focusing attention not on the actors who used it but upon the stage proper . Thus , when the Ghost had led Hamlet on to the stage , both turned , so that the Ghost delivered his narrative straight out to the audi- ence ...
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Common terms and phrases
acting action actor admirable appearance audience beautiful become beginning better Booth called character Claudius close course court critic death direction effect emotion English expression eyes face fact father Fechter feeling final force Garrick Gertrude Ghost Gielgud give given Hamlet hand Henry Horatio idea impression interpretation Irving John Kean Kemble King Laertes later less light lines living London look manner means mind mother moving nature never night observed Olivier once opening Ophelia passion performance perhaps person play players Polonius present prince production Queen question reading reason role scene seems seen sense Shakespeare soliloquy speak speech stage suggested Theatre thing thought tion tragedy turned voice whole York young