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 146
... opening of Henry V , a play that moves us from the low ebb of Falstaff's death to the charm and warmth of the wooing scenes . Before his triumph in France , Henry shows his cold maj- esty in his two encounters with the magnates of his ...
... opening of Henry V , a play that moves us from the low ebb of Falstaff's death to the charm and warmth of the wooing scenes . Before his triumph in France , Henry shows his cold maj- esty in his two encounters with the magnates of his ...
Page 160
... opening scene of The Contention . No one above the rank of joiner appeared on stage in the opening scene of The Contention . Both these statements are true . The first refers to the represented action . Its verb in the present tense sug ...
... opening scene of The Contention . No one above the rank of joiner appeared on stage in the opening scene of The Contention . Both these statements are true . The first refers to the represented action . Its verb in the present tense sug ...
Page 217
... opening the play with a maliciously distorted vision of its hero from his most prej- udiced enemy . Iago's bias , however , soon became appar- ent as bias . By contrast , in the opening lines of Antony and Cleopatra , Philo's negative ...
... opening the play with a maliciously distorted vision of its hero from his most prej- udiced enemy . Iago's bias , however , soon became appar- ent as bias . By contrast , in the opening lines of Antony and Cleopatra , Philo's negative ...
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