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 19
... hand , is at home in Venice because she knows exactly what the differ- ences are between this public world and the world she has come from . She is perfectly conscious of the choices that face us in this play ; she is merely confident ...
... hand , is at home in Venice because she knows exactly what the differ- ences are between this public world and the world she has come from . She is perfectly conscious of the choices that face us in this play ; she is merely confident ...
Halaman 244
... hand , Whilst my poor lips , which should that harvest reap , At the wood's boldness by thee blushing stand . To be so tickled they would change their state And situation with those dancing chips , O'er whom [ thy ] fingers walk with ...
... hand , Whilst my poor lips , which should that harvest reap , At the wood's boldness by thee blushing stand . To be so tickled they would change their state And situation with those dancing chips , O'er whom [ thy ] fingers walk with ...
Halaman 272
... hand , it remains that nature's other hand may soon grab a brush and paint again . In the first instance sexual allure is naturally or platonically absolute ; in the second it is part of a con- tinual flux of possibilities . This latter ...
... hand , it remains that nature's other hand may soon grab a brush and paint again . In the first instance sexual allure is naturally or platonically absolute ; in the second it is part of a con- tinual flux of possibilities . This latter ...
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 |
Istilah dan frasa umum
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