Titlebook: Shakespeare‘s Tragic Imagination; Nicholas Grene Book 1992 Palgrave Macmillan, a division of Macmillan Publishers Limited 1992 Hamlet.King

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Antony and Cleopatra, . to . we see the problem of evil suddenly lose urgency for Shakespeare’.. Yet this alteration need not be seen as unique, a single ‘sudden’ loss of urgency of the issue of good and evil, a stage beyond the tragic concerns of . and . and ..

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jarring

Book 1992cal and political realities of Coriolanus. Yet all three plays share similar thematic concerns and preoccupations: the relation of power to legitimating authority, for instance, or of male and female roles in the imagination of (male) heroic endeavour. In this acclaimed study, Nicholas Grene shows h

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隱藏

From the Histories to the Tragedies,of the Tudor period, were God’s punishment on England for the deposition of Richard II which is here being dramatised. In terms of Shakespeare’s theatre, however, it would have worked retrospectively to supply a cause for the whole dire cycle of ‘tumultuous wars’ which the playwright had already so

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陶器

Troilus and Cressida,piece of skilful painting, made for Priam’s Troy’ (11. 1366-67); in ., the Player, at the Prince’s request, declaims his favourite part of Aeneas’ speech to Dido evoking the fall of Troy and the death of Priam. In both cases, the emphasis is on the remoteness of the original events, and the extraord

外來

Othello,only the night elopement and marriage of Desdemona, but the threat of Turkish attack which makes it so important to establish the whereabouts of Othello, Venice’s most trusted general. Through the first act we see this as an imminently menacing threat, in the conventional stream of messengers bringi

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