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Page xviii
... hero, Prince Hal, solicited by different modes of behavior on his way to the throne. one is personated by unbridled Falstaff, another by Hal's mighty opposite Hotspur. It is clear to pedagogy, a term I don't use in reproach, that the hero ...
... hero, Prince Hal, solicited by different modes of behavior on his way to the throne. one is personated by unbridled Falstaff, another by Hal's mighty opposite Hotspur. It is clear to pedagogy, a term I don't use in reproach, that the hero ...
Page xix
... hero as he weighs alternatives and chooses. He has his surprising connection to caliban, vivified in complementary ... heroes are gifted with this crucial understanding, and I put it that way to emphasize its charismatic nature. Without ...
... hero as he weighs alternatives and chooses. He has his surprising connection to caliban, vivified in complementary ... heroes are gifted with this crucial understanding, and I put it that way to emphasize its charismatic nature. Without ...
Page xxii
... hero-villain in one of Shakespeare's most often quoted speeches, “The fault, dear Brutus, is not in our stars But in ourselves that we are underlings” (Julius Caesar 1.2). Some I know cite this passage with approval, liking its root ...
... hero-villain in one of Shakespeare's most often quoted speeches, “The fault, dear Brutus, is not in our stars But in ourselves that we are underlings” (Julius Caesar 1.2). Some I know cite this passage with approval, liking its root ...
Page xxiii
... hero on and confounds him. Equivocal sayings beguile his “dull brain,” taking his “reason prisoner” (1.3). The evil he does is a “violent love” outrunning reason (2.3). He is unprepared, making his will the servant to “defect” (2.1). on ...
... hero on and confounds him. Equivocal sayings beguile his “dull brain,” taking his “reason prisoner” (1.3). The evil he does is a “violent love” outrunning reason (2.3). He is unprepared, making his will the servant to “defect” (2.1). on ...
Page xxviii
... hero merits his fate, it is at the same time aloof from desert and independent of willing. Shakespeare's tragedies, unlike his comedies, don't put this element of arbitrariness before us. They appear to be sequential, a reason we can ...
... hero merits his fate, it is at the same time aloof from desert and independent of willing. Shakespeare's tragedies, unlike his comedies, don't put this element of arbitrariness before us. They appear to be sequential, a reason we can ...
Contents
1 | |
25 | |
Shadows of Himself | 79 |
WildGoose Chase | 107 |
A Motley to the View | 136 |
For Ted and Lloyd St Antoine | 155 |
The Dyers Hand | 163 |
Index | 195 |
Sailing to Illyria 65 | 65 |
Fools of Nature 101 | 101 |
PR2894 F65 2007 | 106 |
Treason in the Blood 134 | 134 |
The Wine of Life 160 | 160 |
Bravest at the Last 188 | 188 |
Unpathed Waters Undreamed Shores | 217 |
Journeys End | 247 |
Includes bibliographical references and index | 1 |
The Revolution of the Times 34 | 34 |
Index | 281 |
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Common terms and phrases
actors bear beginning better blood called characters church comedy comes Court dark death died Earl early England English fall father fields followed gave gives Greene ground Hamlet hand head heart Henry hero hopeful isn't John Jonson King knew land later leaves less lived London looks Lord lost master means meant mind moral nature needed never Night once perhaps play playwright poem poet Queen readers reason remembered Richard says scene seems Shake Shakespeare shows side sometimes sonnets speare speare's stage stands story Stratford Street suggests tells theater things thinks Thomas thought took tragedy true truth turned wanted wrote young