Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Page 7
... final act is an inexcusable violation of both Isabella's , independence and her religious voca- tion , a shameless " shaming of a nun . 9946 For these critics the play's ending , which turns on Isabella's capacity to forgive the man who ...
... final act is an inexcusable violation of both Isabella's , independence and her religious voca- tion , a shameless " shaming of a nun . 9946 For these critics the play's ending , which turns on Isabella's capacity to forgive the man who ...
Page 138
... final scene , which presents the king's death , the end of the French invasion , and the settling of the peace , also contains the Bastard's apotheosis as administrator . In the final lines the duty of disposing the " business " of ...
... final scene , which presents the king's death , the end of the French invasion , and the settling of the peace , also contains the Bastard's apotheosis as administrator . In the final lines the duty of disposing the " business " of ...
Page 318
... final distancing from the stigmatized theatrical- ity that marked the play's opening scenes . Hermione's coming to life as a statue seems , moreover , to be a final elision of the spectacle of the boy actor , the fig- ure who , more ...
... final distancing from the stigmatized theatrical- ity that marked the play's opening scenes . Hermione's coming to life as a statue seems , moreover , to be a final elision of the spectacle of the boy actor , the fig- ure who , more ...
Contents
Representation and Reformation in Measure for Measure | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Lisa Hopkins Marriage as Comic Closure | 32 |
Copyright | |
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actor Antony argues audience authority Bastard becomes Benedick body Caesar Chalmers character Christian claims Clarissa Cleopatra comedy comic complaint conventional Cordelia Coriolanus critics cultural death desire drama early modern edition Elizabeth Elizabethan England English erotic essay fact Falstaff father female figure Ganymede gender Hamlet Henry Henry VI Hippolyta homosexual identity Irving's Jessica Jewish Jews Joan John King King Lear language Lear Leontes lines London Lord lover Lover's Complaint Lucrece Macbeth magic male Margaret Marranos marriage Measure for Measure ment Merchant of Venice moral Oldcastle Ophelia performance Pericles Petrarchan play's poems poet political Polixenes Prince Protestant Queen reading reference reformation relationship Renaissance representation role scene seems sense sexual Shake Shakespeare Shylock social sodomy sonnet 20 sonnets speare's speech stage suggests theater theatrical thee Theseus thou tion Titus Andronicus tragedy University Press Winter's Tale woman women words York