Shakespearean CriticismJoseph C. Tardiff Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Page 115
... lines as verse , editors have succumbed to his relineation as if it discovered the essential poet buried in the prose . " Shakespeare may have intended verse but failed to make the lines clear , " Humphreys comments about the end of 2.2 ...
... lines as verse , editors have succumbed to his relineation as if it discovered the essential poet buried in the prose . " Shakespeare may have intended verse but failed to make the lines clear , " Humphreys comments about the end of 2.2 ...
Page 194
... lines , Richard advances the argument that his father's oath is of no binding force . The colorless language of these lines does not distinguish Richard from hosts of other chronicle - play characters . It is marked by vagueness ...
... lines , Richard advances the argument that his father's oath is of no binding force . The colorless language of these lines does not distinguish Richard from hosts of other chronicle - play characters . It is marked by vagueness ...
Page 200
... lines in 3 Henry VI . While the play as a whole has es- tablished the loyalty of brother to brother as its only credi- ble value , Richard chillingly asserts : I haue no Brother , I am like no Brother : And this word [ Loue ] which Gray ...
... lines in 3 Henry VI . While the play as a whole has es- tablished the loyalty of brother to brother as its only credi- ble value , Richard chillingly asserts : I haue no Brother , I am like no Brother : And this word [ Loue ] which Gray ...
Contents
Catherine Belsey Love in Venice | 3 |
Mark Breitenberg The Anatomy of Masculine Desire in Loves Labors Lost | 12 |
Calderwood Walls Partitions and Performances | 23 |
Copyright | |
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Antony argued argument audience body Caesar Cambridge Cassio characters claim Cleopatra clown comedy comic Coriolanus court critics death Desdemona desire discourse dramatic Elizabethan England English essay Falstaff father fear Greenblatt Hamlet hath Henry Henry VI history plays Iago identity imagination Julius Caesar King John King Lear language Leontes London lord Love's Labor's Lost lovers Lucrece Lucrece's Macbeth male marriage masculine ment metaphor Midsummer Night's Dream narrative narrator nature night Oldcastle Othello Oxford Pericles play's political poor preposterous Prince Prospero's Pyramus and Thisbe queen reading rebellion Renaissance represents rhetoric Richard Richard II Roman scene seems sense sexual Shake Shakespeare Shrew sion social speaks speare speare's speech stage suggests symbolic Tarquin theater theatrical Theseus things thou tion tragedy Troilus and Cressida Troilus's Univ University Press voice Winter's Tale woman women words York