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 14
... passion, King Lear being 'a tragedy of wrath in old age', Othello, predictably, 'a tragedy of jealousy', and Macbeth, less predictably, 'a study in fear'. But even if Miss Campbell convinced us that Shakespeare's understanding of human ...
... passion, King Lear being 'a tragedy of wrath in old age', Othello, predictably, 'a tragedy of jealousy', and Macbeth, less predictably, 'a study in fear'. But even if Miss Campbell convinced us that Shakespeare's understanding of human ...
Page 15
... passion as of less significance than their pride. Another example of a good critic being led astray by a seductive generalisation is Mr John Holloway who attempts, in The Story of the Night, to show that the Shakespearian tragic hero ...
... passion as of less significance than their pride. Another example of a good critic being led astray by a seductive generalisation is Mr John Holloway who attempts, in The Story of the Night, to show that the Shakespearian tragic hero ...
Page 17
... passion to usurp the place of reason, against pride. We can see in some of them the mutability of fortune. Although Shakespeare's final spokesman declared that his purpose 'Was to please', this does not necessarily conflict with the aim ...
... passion to usurp the place of reason, against pride. We can see in some of them the mutability of fortune. Although Shakespeare's final spokesman declared that his purpose 'Was to please', this does not necessarily conflict with the aim ...
Page 31
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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