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
... realised, each play of a great dramatist will demand its own individual form. It is plain that the form of Peer Gynt is utterly different from that of Rosmersholrn or The Master Builder; that of Phedre from that of Be're'nice or Athalie ...
... realised, each play of a great dramatist will demand its own individual form. It is plain that the form of Peer Gynt is utterly different from that of Rosmersholrn or The Master Builder; that of Phedre from that of Be're'nice or Athalie ...
Page 18
... Realising this, some critics have supposed that the vogue of tragedy was caused by the disenchantment of the Elizabethans in the last years of the Queen's reign, a disenchantment caused by theprevalence of the plague, by the fear of a ...
... Realising this, some critics have supposed that the vogue of tragedy was caused by the disenchantment of the Elizabethans in the last years of the Queen's reign, a disenchantment caused by theprevalence of the plague, by the fear of a ...
Page 19
... men talking rather than actors declaiming. Shakespeare must have realised that he could produce great tragedies which would be worthin performed. 2 APPRENTICESHIP Titus Andronicus was immensely popular in the sixteenth Introduction I 9.
... men talking rather than actors declaiming. Shakespeare must have realised that he could produce great tragedies which would be worthin performed. 2 APPRENTICESHIP Titus Andronicus was immensely popular in the sixteenth Introduction I 9.
Page 24
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Page 45
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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