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 76
Page 108
... begins as a romantic love story therefore turns into tragedy , but there is a logic in this progression , for each of Medea's crimes , directed against the ties of kinship , is a repetition of her original betrayal of her father in ...
... begins as a romantic love story therefore turns into tragedy , but there is a logic in this progression , for each of Medea's crimes , directed against the ties of kinship , is a repetition of her original betrayal of her father in ...
Page 232
... begins disinterest- edly , giving good objective advice to make hay while the sun shines , but he eventually comes round to self- interested exhortation . Similarly , the procreation group displays no self - interest to begin with ; so ...
... begins disinterest- edly , giving good objective advice to make hay while the sun shines , but he eventually comes round to self- interested exhortation . Similarly , the procreation group displays no self - interest to begin with ; so ...
Page 293
... begins with three poems spoken by a lover struggling to find a literary language in which to write about his ... begin their sequences with poems explicitly " about " writing love poetry : Spenser's lover addresses his completed book of ...
... begins with three poems spoken by a lover struggling to find a literary language in which to write about his ... begin their sequences with poems explicitly " about " writing love poetry : Spenser's lover addresses his completed book of ...
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