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 23
... thou envious wall ( they sayd , ) why letst thou lovers thus ? What matter were it if that thou permitted both of us In armes eche other to embrace ? Or if thou thinke that this Were overmuch , yet mightest thou at least make roume to ...
... thou envious wall ( they sayd , ) why letst thou lovers thus ? What matter were it if that thou permitted both of us In armes eche other to embrace ? Or if thou thinke that this Were overmuch , yet mightest thou at least make roume to ...
Page 292
... thou mischief in thy pilgrimage , Unless thou couldst return to make amends ? And she urges Time to punish Tarquin : ( 960-1 ) Thou ceaseless lackey to eternity , With some mischance cross Tarquin in his light . Devise extremes beyond ...
... thou mischief in thy pilgrimage , Unless thou couldst return to make amends ? And she urges Time to punish Tarquin : ( 960-1 ) Thou ceaseless lackey to eternity , With some mischance cross Tarquin in his light . Devise extremes beyond ...
Page 369
... thou wast not bound to answer An unknown opposite : thou art not van- quish'd , But cozend and beguild . ( V.iii . 149-54 ) F is the version accepted by modern editors of the conflat- ed text . Goneril's use of the past tense , ' thou ...
... thou wast not bound to answer An unknown opposite : thou art not van- quish'd , But cozend and beguild . ( V.iii . 149-54 ) F is the version accepted by modern editors of the conflat- ed text . Goneril's use of the past tense , ' thou ...
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