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 16
... reveals itself in choice gains a new urgency. . . . In fact, of course, it would be well-nigh impossible to isolate the crucial moral act among the thousands of venial sins committed by the ordinary human being. But the tragic poet ...
... reveals itself in choice gains a new urgency. . . . In fact, of course, it would be well-nigh impossible to isolate the crucial moral act among the thousands of venial sins committed by the ordinary human being. But the tragic poet ...
Page 18
... revealed the sordid truth about man as a political animal; Montaigne had shaken people's self-confidence; and the new astronomy had shown that the earth was not the centre of the universe. These critics can point to a good deal of fin ...
... revealed the sordid truth about man as a political animal; Montaigne had shaken people's self-confidence; and the new astronomy had shown that the earth was not the centre of the universe. These critics can point to a good deal of fin ...
Page 22
... reveals the truth by pointing to the tale in a copy of Ovid; and in the last act Titus tells her ravishers: For worse than Philomel you used my daughter, And worse than Progne I will be reveng'd. (V.ii.195-6) But, as Professor Waith ...
... reveals the truth by pointing to the tale in a copy of Ovid; and in the last act Titus tells her ravishers: For worse than Philomel you used my daughter, And worse than Progne I will be reveng'd. (V.ii.195-6) But, as Professor Waith ...
Page 29
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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