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 54
... speak between the change of man and boy , / With a reed voice , '60 implying one harsher than her normal speak- ing voice . The natural transition from playing women to playing men is at the breaking of the voice , but boys ' voices ...
... speak between the change of man and boy , / With a reed voice , '60 implying one harsher than her normal speak- ing voice . The natural transition from playing women to playing men is at the breaking of the voice , but boys ' voices ...
Page 105
... speak about and to Shylock , and the way they treat him— speak self - condemingly for themselves . Other critics have argued that Christian virtues are emphasized in the play . Raymond B. Waddington ( 1977 ) , for ex- ample , contrasted ...
... speak about and to Shylock , and the way they treat him— speak self - condemingly for themselves . Other critics have argued that Christian virtues are emphasized in the play . Raymond B. Waddington ( 1977 ) , for ex- ample , contrasted ...
Page 160
... speak between the change of man and boy With a reed voice , and turn two mincing steps Into a manly stride ; and speak offrays Like a fine bragging youth , and tell quaint lies , How honorable ladies sought my love , Which I denying ...
... speak between the change of man and boy With a reed voice , and turn two mincing steps Into a manly stride ; and speak offrays Like a fine bragging youth , and tell quaint lies , How honorable ladies sought my love , Which I denying ...
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