Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 28Gale Research Company, 1984 |
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Page ix
... Beginning with Volume 27 in the series , SC focuses on criticism published after 1960 , with a view to providing the reader with the most significant modern approaches to Renaissance culture . In addition to entries devoted to ...
... Beginning with Volume 27 in the series , SC focuses on criticism published after 1960 , with a view to providing the reader with the most significant modern approaches to Renaissance culture . In addition to entries devoted to ...
Page 127
... beginning , only when the stage gives way to Henry's self - staging does the theater convey its object . Although the Prologue bemoans the lack of a genuine monarch - a " warlike Harry " who , “ like himself , " will " assume the port ...
... beginning , only when the stage gives way to Henry's self - staging does the theater convey its object . Although the Prologue bemoans the lack of a genuine monarch - a " warlike Harry " who , “ like himself , " will " assume the port ...
Page 243
... beginning quite early on , in Richard III and Richard II , for example ; but they seem to take on special resonance and significance in the later tragedies , notably A. C. Bradley's Big Four , and also Antony and Cleopatra and Timon of ...
... beginning quite early on , in Richard III and Richard II , for example ; but they seem to take on special resonance and significance in the later tragedies , notably A. C. Bradley's Big Four , and also Antony and Cleopatra and Timon of ...
Contents
Texts and Revels in Twelfth Night | 13 |
Lynda E Boose The Taming of the Shrew Good Husbandry and Enclosure | 21 |
Juliet Dusinberre As Who Liked It? | 31 |
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action Adonis appears argued audience become Caliban Cambridge character Claudius comedy comic context court critical cultural Cymbeline death Desdemona desire discourse dramatic early modern Elizabeth Elizabethan England English essay Essex Falstaff father female festive figure gender Hamlet Harington hath Henry Henry IV plays Henry's human Iago imagination Ireland Irish Isabella James John King Lear language Leir lines London Lord lover Macbeth male marriage means Measure for Measure ment Merchant of Venice misogyny narrative nature Othello Oxford peare peare's performance Petrarch platea play's plot poems political popular Procris prose Prospero Queen Renaissance revenge rhetoric Richard Richard II role Rosalind royal secret seems sense sexual Shakes Shakespeare social Sonnets speak Speech Acts stage story suggests theater theatrical thou tion tragedy tragic Univ University Press utterance Venice Venus verse woman women words York