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 12
... significance of a situation or how best to embody a theme in dramatic form. In solving these problems, each dramatist, however original, would be affected by the example of his predecessors. Much of what Bradley says in his chapter on ...
... significance of a situation or how best to embody a theme in dramatic form. In solving these problems, each dramatist, however original, would be affected by the example of his predecessors. Much of what Bradley says in his chapter on ...
Page 14
... significant relationship between all the tragedies. Other attempts, more overtly theological, have been made to discover a unifying principle in Shakespeare's tragedies. In his Shakespearean Tragedy (1969), Roy Battenhouse argued 'that ...
... significant relationship between all the tragedies. Other attempts, more overtly theological, have been made to discover a unifying principle in Shakespeare's tragedies. In his Shakespearean Tragedy (1969), Roy Battenhouse argued 'that ...
Page 15
... 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, driven into ...
... 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, driven into ...
Page 18
... significant influence on his development. N 0 man endowed with the qualities of a poet can expect to reach the age of forty without the black 0x treading on his feet. But a tragic sense of life—~—a sense of tears in mortal things—— does ...
... significant influence on his development. N 0 man endowed with the qualities of a poet can expect to reach the age of forty without the black 0x treading on his feet. But a tragic sense of life—~—a sense of tears in mortal things—— does ...
Page 26
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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