Commentary on Shakespeare's Richard IIIRoutledge, 11.10.2013 г. - 272 страници First published in 1968. |
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Страница viii
... Later Soliloquies , 221 - The Soliloquy : Development of Richard's Character , 222 - Towards Character - Tragedy , 223 - The Richard - Ratcliff Episode ( 202-227 ) , 224 - The Two Orations Com- pared ( 237-270 ; 344-351 ) , 225 ...
... Later Soliloquies , 221 - The Soliloquy : Development of Richard's Character , 222 - Towards Character - Tragedy , 223 - The Richard - Ratcliff Episode ( 202-227 ) , 224 - The Two Orations Com- pared ( 237-270 ; 344-351 ) , 225 ...
Страница 2
... later actions - remind the audience that England is actually enjoying an unclouded prospect free from civil and foreign wars . In other plays the opening situation provides grounds for the hero's sub- sequent action ; 1 but nothing in ...
... later actions - remind the audience that England is actually enjoying an unclouded prospect free from civil and foreign wars . In other plays the opening situation provides grounds for the hero's sub- sequent action ; 1 but nothing in ...
Страница 5
... later passages . Here and elsewhere in the play he describes himself as though he were looking in a mirror : he enumerates individual imperfections ( 19- 21 ) and dramatizes his disabled state in his account of the dogs barking at his ...
... later passages . Here and elsewhere in the play he describes himself as though he were looking in a mirror : he enumerates individual imperfections ( 19- 21 ) and dramatizes his disabled state in his account of the dogs barking at his ...
Страница 6
... later addressed by Margaret as the ' slave of nature and the son of hell ' ( I , iii , 30 ) . Critics have been rather too ready to treat this second section of the soliloquy as though it were a modern exploration of the psychological ...
... later addressed by Margaret as the ' slave of nature and the son of hell ' ( I , iii , 30 ) . Critics have been rather too ready to treat this second section of the soliloquy as though it were a modern exploration of the psychological ...
Страница 7
... later he is never at a loss for an explanation , brazenly and cynically justifying each of his crimes in turn , so here at the very outset he finds an apparently logical reason for being what he is . 2 The last section of the soliloquy ...
... later he is never at a loss for an explanation , brazenly and cynically justifying each of his crimes in turn , so here at the very outset he finds an apparently logical reason for being what he is . 2 The last section of the soliloquy ...
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 | |
Други издания - Преглед на всички
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