Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 40Gale Research Company, 1984 |
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Page 105
... Christian charac- ters - Antonio , Bassanio , and Portia - have lost noth- ing , and have in fact gained money and love . Despite this favorable outcome for the Christians , they are often accused of failing to practice Christian mercy ...
... Christian charac- ters - Antonio , Bassanio , and Portia - have lost noth- ing , and have in fact gained money and love . Despite this favorable outcome for the Christians , they are often accused of failing to practice Christian mercy ...
Page 117
... Christian approach to the play , maintaining that while the Christian characters are frequently accused of not practicing the beliefs they profess , when the actions of Portia and Bassanio are contrasted with those of Jessica and ...
... Christian approach to the play , maintaining that while the Christian characters are frequently accused of not practicing the beliefs they profess , when the actions of Portia and Bassanio are contrasted with those of Jessica and ...
Page 130
... Christian quarter . The crux of the conflict between friendship and some versions of Christianity lay precisely in ... Christian- ity generally approved of it , encompassing it under the doctrine of imitatio Christi . So Antonio , the ...
... Christian quarter . The crux of the conflict between friendship and some versions of Christianity lay precisely in ... Christian- ity generally approved of it , encompassing it under the doctrine of imitatio Christi . So Antonio , the ...
Contents
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Copyright | |
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action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young