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 25
... stage . For he and his play- ers , especially Bottom himself , are strong on the here - and- now of matter , on what is present in presentations of reali- ty . To portray the sad doings of the Babylonian lovers , they would bring ...
... stage . For he and his play- ers , especially Bottom himself , are strong on the here - and- now of matter , on what is present in presentations of reali- ty . To portray the sad doings of the Babylonian lovers , they would bring ...
Page 54
... stage quotations of tragedies well known to audiences in the early 1590s - quotations designed to create a ludicrous effect of mock heroic in their new and incongruous setting . In the Induction to A Shrew , for example , when the ...
... stage quotations of tragedies well known to audiences in the early 1590s - quotations designed to create a ludicrous effect of mock heroic in their new and incongruous setting . In the Induction to A Shrew , for example , when the ...
Page 371
... stage business is more difficult on the Elizabethan stage , where ' masking ' the simulated blow from the entire audience is virtually impossible . In the age of the great actor - managers , it was popular for Edgar to disarm Oswald and ...
... stage business is more difficult on the Elizabethan stage , where ' masking ' the simulated blow from the entire audience is virtually impossible . In the age of the great actor - managers , it was popular for Edgar to disarm Oswald and ...
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