Commentary on Shakespeare's Richard IIIRoutledge, 11.10.2013 г. - 272 страници First published in 1968. Providing a detailed and rigorous analysis of Richard III, this Commentary reveals every nuance of meaning whilst maintaining a firm grasp on the structure of the play. The result is an outstanding lesson in the methodology of Shakespearian criticism as well as an essential study for students of the early plays of Shakespeare. |
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Страница xviii
... conveys , are briefly considered only in the latter part of this book and then in connection with concrete observations . The author is neverthe- less aware that the systematic approach he is attempting here carries with it its own ...
... conveys , are briefly considered only in the latter part of this book and then in connection with concrete observations . The author is neverthe- less aware that the systematic approach he is attempting here carries with it its own ...
Страница 5
... conveying a negative image of Richard ( curtail'd , cheated of feature , deform'd , unfinish'd , scarce half made up ) , accelerates the pace of the speech and increases the bitterness of tone . For Richard , self - observation is ...
... conveying a negative image of Richard ( curtail'd , cheated of feature , deform'd , unfinish'd , scarce half made up ) , accelerates the pace of the speech and increases the bitterness of tone . For Richard , self - observation is ...
Страница 9
... conveying necessary facts and preparing the audience for the opening situation , simplify the otherwise overburdened ... convey information . The opening soliloquy also has roots in the naive self - introductions of char- acters in ...
... conveying necessary facts and preparing the audience for the opening situation , simplify the otherwise overburdened ... convey information . The opening soliloquy also has roots in the naive self - introductions of char- acters in ...
Страница 10
... convey only a general impression of an agitated personality . The Senecan soli- loquies occasionally contain factual information on past events and future plans ( Hercul . Fur . , Medea ) , but such passages remain subordinate to the ...
... convey only a general impression of an agitated personality . The Senecan soli- loquies occasionally contain factual information on past events and future plans ( Hercul . Fur . , Medea ) , but such passages remain subordinate to the ...
Страница 20
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Съдържание
1 | |
General Structure 1 The Opening Soliloquy 2The PreShake | 20 |
Annes Soliloquy 24 The Address as a Means of Irony 27 Annes | 30 |
Richards Tactics 31 The ConversionSpeech 33 Psychological | 39 |
The Opening Episodes 44Richards Entry | 62 |
The SelfContained Scene in Shakespeares Plays 64 The Place | 72 |
Comparison with Richards Dream in V iii 73 Dramatization of | 74 |
Dreams in PreShakespearian Drama 77 Brakenburys Monologue | 83 |
Treatment of a Minor Episode 135 The Spectacle and the Text 136 | 136 |
Hastings Rôle and Dramatic Irony 138 Richards Entry 138 | 142 |
SCENE SIX | 148 |
Dramatic Techniques 151 Buckinghams Report 152 Irony | 156 |
The Initial Meeting 159 The Brakenbury Episode 159 Lament | 162 |
The Dialogue between Richard and Buckingham 165 Richards | 169 |
Telescoping of Time 171 Tyrrels Report 171 Reappearance of | 174 |
Three Types of Scene Combined 176 Margarets Opening Solil | 185 |
SCENE ONE | 91 |
SCENE TWO | 98 |
The Lament 101 Richards Entry 104 Buckinghams Speech | 105 |
tion and Foreboding 112 The Use of Proverbs 112 Recurrent | 113 |
SCENE ONE | 119 |
Structure of the Scene 120 The Arrival in London 120 The Dis | 128 |
The Messengers Entry 131 Stanleys Dream 131 The Catesby | 134 |
larities and Differences between I ii and IV iv 192 The Seven | 194 |
The IncitementSpeech | 200 |
SCENE FOUR | 231 |
Conventional Motifs in the Final Scene 233 The Initial StageDirec | 235 |
243 | |
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Често срещани думи и фрази
action alliteration Anne Anne's appearance attention audience beginning Buckingham called carried character Clarence Clarence's close conscience contains contrast conventional conversation convey course curses death Development dialogue direct discussion drama dream earlier Edward effect Elizabethan English episode example expression fact feelings figure final frequent further future ghosts gives hand Hastings Henry History important instance ironic irony King lament language later less lines linked Margaret means mind monologue Moreover murderers names nature occurs once opening parallel particular passage past pattern peace person phrases play pre-Shakespearian drama prepared present Prince provides Queen question references reflected reveals rhetorical Richard Richard III Richmond rôle scene seems Shakespeare short shows similar simply situation soliloquy speaks speech stage structure style suggest takes theme tion Tragedy true utterances victims warning whole