Patterns in Shakespearian TragedyFirst published in 1960. Patterns in Shakespearian Tragedy is an exploration of man's relation to his universe and the way in which it seeks to postulate a moral order. Shakespeare's development is treated accordingly as a growth in moral vision. His movement from play to play is carefully explored, and in the treatment of each tragedy the emphasis is on the manner in which its central moral theme shapes the various elements of drama |
From inside the book
Results 1-5 of 55
Page
... clear in the final Roman plays, where characters such as Cleopatra and Aufidius are rendered psychologically inconsistent by the conflicting symbolic functions which the total plan requires that they perform. The theatrical tradition in ...
... clear in the final Roman plays, where characters such as Cleopatra and Aufidius are rendered psychologically inconsistent by the conflicting symbolic functions which the total plan requires that they perform. The theatrical tradition in ...
Page 3
... clear in the final Roman plays , where characters such as Cleopatra and Aufidius are rendered psycho- logically inconsistent by the conflicting symbolic functions which the total plan requires that they perform . The theatrical ...
... clear in the final Roman plays , where characters such as Cleopatra and Aufidius are rendered psycho- logically inconsistent by the conflicting symbolic functions which the total plan requires that they perform . The theatrical ...
Page 12
... clearly in Romeo and Juliet , the direction in which Shakespeare is moving . After Romeo and Juliet Shakespeare turned to historical tragedy , learning more surely in each of the plays from King John through Julius Caesar to embody ...
... clearly in Romeo and Juliet , the direction in which Shakespeare is moving . After Romeo and Juliet Shakespeare turned to historical tragedy , learning more surely in each of the plays from King John through Julius Caesar to embody ...
Page 19
... clear example of the symbolic use of character which is to be so marked a feature of the great plays of Shakespeare's maturity . Evil in Titus Andronicus is already envisaged as a motiveless force which operates through deception , and ...
... clear example of the symbolic use of character which is to be so marked a feature of the great plays of Shakespeare's maturity . Evil in Titus Andronicus is already envisaged as a motiveless force which operates through deception , and ...
Page 25
You have reached your viewing limit for this book.
You have reached your viewing limit for this book.
Contents
1 | |
14 | |
King John Richard II Julius Caesar | 36 |
Hamlet | 65 |
Othello | 91 |
King Lear | 116 |
Timon of Athens and Macbeth | 137 |
Antony and Cleopatra and Coriolanus | 168 |
Index +55 14 36 65 91 116 137 168 | 203 |
Other editions - View all
Common terms and phrases
accept action already Antony appearance attain attempt audience becomes beginning bond Brutus Caesar calls cause character Christian Claudius clear Cleopatra comes concerned Coriolanus damnation death delusion deny Desdemona designed destroy destruction developed divine dramatic Elizabethan emphasize England evil fall father fear feeling final follow forces fortune function ghost give Gloucester God's Hamlet hand hero honour human Iago John justice kind King lead Lear Lear's learned lines live London Macbeth madness man's means moral murder nature never offer opposing Othello passion pattern play political pride reality reason reflects regeneration rejection represents revenge Richard Rome Romeo and Juliet scene sense serve Shake Shakespeare Shakespearian Tragedy shows sins soul specific speech spite stands story suffering symbol thee theme thou Timon Titus Andronicus tradition tragedy tragic true turn universe victory virtue Wilson York