Shakespeare's Early TragediesRoutledge, 2013 M10 11 - 232 pages First published in 1968. Shakespeare's Early Tragedies contains studies of six plays: Titus Andronicus, Richard III, Romeo and Juliet, Richard II, Julius Caesar and Hamlet. The emphasis is on the variety of the plays, and the themes, a variety which has been too often obscured by the belief in a single 'tragic experience'. The kind of experience the plays create and their quality as dramatic works for the stage are also examined. These essays develop an understanding of Shakespeare's use of the stage picture in relation to the emblematic imagery of Elizabethan poetry. |
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Page 1
... death of the hero. Some may have doubts whether Antotyl and CleoPatra ought not to be admitted to the distinguished group, though Bradley determined with particular care that it should not. But no one, so far as I know, has proposed ...
... death of the hero. Some may have doubts whether Antotyl and CleoPatra ought not to be admitted to the distinguished group, though Bradley determined with particular care that it should not. But no one, so far as I know, has proposed ...
Page 2
... death, with an air of discovery; and he certainly did not determine that because Market/9 was a superior play, Riebard III was therefore an uninteresting one. And in comedy, no such distinction has yet been established: no doubt there ...
... death, with an air of discovery; and he certainly did not determine that because Market/9 was a superior play, Riebard III was therefore an uninteresting one. And in comedy, no such distinction has yet been established: no doubt there ...
Page 4
... death, sometimes rehandling in later years themes which he had tackled very early in his career. For the themes of a play, and the kinds of people and event with which it deals, are its core and centre of interest; they may be properly ...
... death, sometimes rehandling in later years themes which he had tackled very early in his career. For the themes of a play, and the kinds of people and event with which it deals, are its core and centre of interest; they may be properly ...
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Contents
1 | |
13 | |
Richard III 1593? | 48 |
Romeo and Juliet 1595 | 80 |
Richard II 1595 | 107 |
Julius Caesar 1599 | 138 |
Hamlet 16001 | 163 |
Selective Bibliography | 207 |
Index | 211 |
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Common terms and phrases
Aaron action Antony audience beast becomes blank verse blood Bolingbroke Brutus Caesar Cassius character choric Clarence’s Claudius climax comedy comic confidence conflict conscience contrast course critical curse death divine doth Dover Wilson dramatic dream earlier plays echoes Edward’s emblem emblematic emerges established fact Faerie Queene figure final finally find fire first fit flesh formal fulfil ghost Hamlet hath heaven and hell heroic Horatio human irony julius Caesar kind king Laertes later Lavinia Lucius magnificent Marcus Margaret Mercutio murder night nobility noble obvious Ophelia pattern play’s poetic poetry political Polonius prose Queen Queen Mab question reflection revenge rhetorical Richard Richard II ritual Roman Rome Romeo and Juliet Saturninus scene seems sense sequence Shakespeare significance simple soliloquy specific speech stage stress structure suggested T. S. Eliot Tamora thee theme thou tion Titer Titus Titus Andronicus tone tragedy tragic utterance verse words