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 |
From inside the book
Results 1-3 of 90
Page 28
... audience response on the speaker , but direct it toward his interpretation of events . But throughout Ophelia's soliloquy after the nunnery scene , Hamlet remains before the audience : " O , what a noble mind is here o'erthrown ...
... audience response on the speaker , but direct it toward his interpretation of events . But throughout Ophelia's soliloquy after the nunnery scene , Hamlet remains before the audience : " O , what a noble mind is here o'erthrown ...
Page 161
... audience as them- selves in soliloquies while in male garb . In her own person and as Balthazar , Portia has no soliloquies nor obvious asides , nor are there any unconscious rever- sions to female identity , " no funny , foolish slips ...
... audience as them- selves in soliloquies while in male garb . In her own person and as Balthazar , Portia has no soliloquies nor obvious asides , nor are there any unconscious rever- sions to female identity , " no funny , foolish slips ...
Page 386
... audience on guard and left the gender of Ascanio an open question . That question is abruptly resolved in III.i. Massinger begins the scene by introducing Octavio , an exiled courtier , meditating on his fall from grace . His rumi ...
... audience on guard and left the gender of Ascanio an open question . That question is abruptly resolved in III.i. Massinger begins the scene by introducing Octavio , an exiled courtier , meditating on his fall from grace . His rumi ...
Contents
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Copyright | |
1 other sections not shown
Other editions - View all
Common terms and phrases
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