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 82
Page 113
... turns , or descends , into brief merriment before this mood in turn is suddenly dashed with the news of Antonio's mortal danger . IV ' How every fool can play upon the word ! I think the best grace of wit will shortly turn into silence ...
... turns , or descends , into brief merriment before this mood in turn is suddenly dashed with the news of Antonio's mortal danger . IV ' How every fool can play upon the word ! I think the best grace of wit will shortly turn into silence ...
Page 253
... turn to fair , that eyes can see ! " — as well as the stern moral accuracy of the last line , pointed with a ... turn sourest by their deeds : Lilies that fester smell far worse than weeds . To see what Shakespeare has done with a common ...
... turn to fair , that eyes can see ! " — as well as the stern moral accuracy of the last line , pointed with a ... turn sourest by their deeds : Lilies that fester smell far worse than weeds . To see what Shakespeare has done with a common ...
Page 307
... turns as sub- ject , creates the effect of inner dialogue . Thus , the poet first plumbs the reasons for the fair ... turn in rhyme scheme at line 13 comes the poem's only abrupt change in tone , and its single dis- tinct foray beyond ...
... turns as sub- ject , creates the effect of inner dialogue . Thus , the poet first plumbs the reasons for the fair ... turn in rhyme scheme at line 13 comes the poem's only abrupt change in tone , and its single dis- tinct foray beyond ...
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