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 |
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Page 6
... political problems , its literary criticism . The application of such historical scholarship to Shakespeare's plays ... politics and religion there were heretical notions which censorship barred from print , but which we cannot doubt ...
... political problems , its literary criticism . The application of such historical scholarship to Shakespeare's plays ... politics and religion there were heretical notions which censorship barred from print , but which we cannot doubt ...
Page 12
... political as well as ethical ideas in dra- matic form . Through his treatment of the relative certainties of political doctrine , Shakespeare probably learned to handle ideas more effectively , and from politics he passed to the more ...
... political as well as ethical ideas in dra- matic form . Through his treatment of the relative certainties of political doctrine , Shakespeare probably learned to handle ideas more effectively , and from politics he passed to the more ...
Page 23
... political health , just as a human soul may achieve salvation . In Richard III Shakespeare has not yet learned to humanize his political symbol so fully as he is to do in Richard II , but we never- theless can perceive some movement in ...
... political health , just as a human soul may achieve salvation . In Richard III Shakespeare has not yet learned to humanize his political symbol so fully as he is to do in Richard II , but we never- theless can perceive some movement in ...
Page 37
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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 |
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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