Shakespeare

actual alternative audience authority become close comedies comedies and romances common completely conservative continue conventional course created criticism cultural define desire Dollimore dominant drama effect Elizabethan English English studies equally established example experience expression fact feel feudal Fool forces Hamlet historical human identity ideology imaginative individual interpretive kind King Lear language less linguistic literary literature lives London Macbeth Marxism means Merchant of Venice mode moral nature Night normal objective once Othello particular past perception perspective play play's political possible potential practice present production Prospero protagonists question radical readings realisation reality Renaissance role romance scene sense sexual Shakespeare Shylock Sinfield social society speech stage status structures Tale Tempest theatre things traditional tragedy tragic transformation turn Twelfth universal values vision voice whole women