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
... Father. In the same way the form of King Lear is unlike that of Macbeth, not to mention Antony and Cleopatra or Romeo and fuliet. The tragic form will be influenced by a number of different factors, some of them, at one extreme ...
... Father. In the same way the form of King Lear is unlike that of Macbeth, not to mention Antony and Cleopatra or Romeo and fuliet. The tragic form will be influenced by a number of different factors, some of them, at one extreme ...
Page 14
... father's pleasant vices', and that Cordelia is self-righteous. Professor Battenhouse turns Shakespeare into a rather puritanical moralist, which to believe of him, as the King of France says of Cordelia Must be a faith that reason ...
... father's pleasant vices', and that Cordelia is self-righteous. Professor Battenhouse turns Shakespeare into a rather puritanical moralist, which to believe of him, as the King of France says of Cordelia Must be a faith that reason ...
Page 22
... Father, Till the sword cut it off. The mangled root Quivered, the severed tongue along the ground Lay quivering, making a little murmur, Jerking and twitching, the way a serpent does Run over by a wheel, and with its dying movement Came ...
... Father, Till the sword cut it off. The mangled root Quivered, the severed tongue along the ground Lay quivering, making a little murmur, Jerking and twitching, the way a serpent does Run over by a wheel, and with its dying movement Came ...
Page 23
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Page 27
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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