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 5
... final moments . Antony's botched suicide , his suggestive inaccuracy in the plac- ing of his sword , is redeemed as Cleopatra takes the asp to her breast , mothering it like the stupendous vision of Antony to which she gives birth in ...
... final moments . Antony's botched suicide , his suggestive inaccuracy in the plac- ing of his sword , is redeemed as Cleopatra takes the asp to her breast , mothering it like the stupendous vision of Antony to which she gives birth in ...
Page 164
... final use of legal terminology to recall her appearance in the courtroom , and perhaps to allow the performer a momentary re- version to Balthazar : Let us go in And charge us there upon inter'gatories And we will answer all things ...
... final use of legal terminology to recall her appearance in the courtroom , and perhaps to allow the performer a momentary re- version to Balthazar : Let us go in And charge us there upon inter'gatories And we will answer all things ...
Page 232
... final conceit about inherit- ance ; it opens up wider images of the horror of life leading to death : Thy unused beauty must be tombed with thee , Which used lives th ' executor to be . The irresistibility of the process by which ...
... final conceit about inherit- ance ; it opens up wider images of the horror of life leading to death : Thy unused beauty must be tombed with thee , Which used lives th ' executor to be . The irresistibility of the process by which ...
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