Shakespeare's Tragic SequenceFirst published in 1972. The emphasis of this book is that each of Shakespeare's tragedies demanded its own individual form and that although certain themes run through most of the tragedies, nearly all critics refrain from the attempt to apply external rules to them. The plays are almost always concerned with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval idea of the reversal of fortune. |
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Page 12
... what Bradley says in his chapter on 'The Substance of Shakespearean Tragedy' is unexceptionable. The tragedies—apart from Romeo and juliet and Antony and Cleopatra-are concerned primarily. I. 2. Shakespeare's. Tragic. Sequence.
... what Bradley says in his chapter on 'The Substance of Shakespearean Tragedy' is unexceptionable. The tragedies—apart from Romeo and juliet and Antony and Cleopatra-are concerned primarily. I. 2. Shakespeare's. Tragic. Sequence.
Page 13
Kenneth Muir. from Romeo and juliet and Antony and Cleopatra-are concerned primarily with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval ...
Kenneth Muir. from Romeo and juliet and Antony and Cleopatra-are concerned primarily with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval ...
Page 16
... Juliet as sinful. The failure of such good critics to produce a theory that is applicable to all Shakespeare's tragedies and yet differentiates them from those of other poets should warn us of the difficulties of generalisation. Each of ...
... Juliet as sinful. The failure of such good critics to produce a theory that is applicable to all Shakespeare's tragedies and yet differentiates them from those of other poets should warn us of the difficulties of generalisation. Each of ...
Page 19
... juliet relied too much on accident. Richard II was too weak to be regarded as a satisfactory tragic hero. Shakespeare did not make these mistakes again. By 1600 he had forged for himself a wonderfully flexible verse capable of ...
... juliet relied too much on accident. Richard II was too weak to be regarded as a satisfactory tragic hero. Shakespeare did not make these mistakes again. By 1600 he had forged for himself a wonderfully flexible verse capable of ...
Page 34
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Contents
9 | |
11 | |
20 | |
3 Julius Caesar
| 42 |
4 Hamlet
| 55 |
5 Othello
| 93 |
6 King Lear
| 117 |
7 Macbeth
| 142 |
8 Antony and Cleopatra
| 156 |
9 Coriolanus
| 172 |
10 Timon of Athens
| 187 |
Notes
| 197 |
Index | 205 |
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Common terms and phrases
action Antony Antony and Cleopatra Antony’s argued audience avenger Banquo behaviour Bradley Brutus Caesar Cassius character Claudius Claudius’s Cleopatra Coleridge confesses conflict conscience contrast Cordelia Coriolanus critics death declares deed Desdemona devil difficult dramatist Edgar Elizabethan evil father fear figure final finally find first scene fit flatterers flesh fool Gertrude Ghost Gloucester gods Goneril Guildenstern guilty Hamlet hates hath heart heaven Horatio horror Iago Iago’s imagery images influence jealous Juliet kill King Lear King’s L. C. Knights Laertes Lear’s lovers man’s Menenius merely mind moral mother murder nature night noble Ophelia Othello passion play Plutarch poet Polonius Professor Queen realise reflection regarded revealed revenge Richard Roderigo Romeo Rosencrantz sacrifice says Shakespeare significant soliloquy soul speaks speech spirit suggested suicide tells thee There’s thou thought Timon Timon of Athens Titus Andronicus tragedy tragic hero villain virtue wife Wilson Knight words