Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 40Gale Research Company, 1984 |
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Halaman 42
... Macbeth yields to them : in the darkness that entombs the living light of day after Duncan's murder ; in the light that " thick- ens " as Macbeth's assassins prepare to kill Banquo ; in the self - contradictory messages the apparitions ...
... Macbeth yields to them : in the darkness that entombs the living light of day after Duncan's murder ; in the light that " thick- ens " as Macbeth's assassins prepare to kill Banquo ; in the self - contradictory messages the apparitions ...
Halaman 44
... Macbeth no longer dares to look on him ; he challenges the specter to a merely hypothetical combat as a way of replacing the grue- some vision with a comforting image of his own valor : What man dare , I dare . Approach thou like the ...
... Macbeth no longer dares to look on him ; he challenges the specter to a merely hypothetical combat as a way of replacing the grue- some vision with a comforting image of his own valor : What man dare , I dare . Approach thou like the ...
Halaman 45
... Macbeth feels more of a man when he has a man to struggle against - but here , even more than with Dun- can , he hides from his own deed , hiring assassins and in addition hoodwinking them into thinking their mo- tives are more than ...
... Macbeth feels more of a man when he has a man to struggle against - but here , even more than with Dun- can , he hides from his own deed , hiring assassins and in addition hoodwinking them into thinking their mo- tives are more than ...
Isi
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Hak Cipta | |
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Shakespearean Criticism: Excerpts from the Criticism of William ..., Volume 28 Tampilan cuplikan - 1984 |
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action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young