Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, 第 40 卷Gale Research Company, 1984 |
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第 1 到 3 筆結果,共 93 筆
第 19 頁
... Portia spares us the choice between love and law , Belmont and Venice , stepping Bottomlike over the barriers between the two worlds . Just as Bottom goes from being a real tinker to being an imaginary ass - headed creature , Portia ...
... Portia spares us the choice between love and law , Belmont and Venice , stepping Bottomlike over the barriers between the two worlds . Just as Bottom goes from being a real tinker to being an imaginary ass - headed creature , Portia ...
第 106 頁
... Portia and Bas- sanio ) . Keith Geary ( 1984 ) has also analyzed Portia's disguise , however , he distinguishes her disguise from that of Shakespeare's other heroines . He notes that Portia's male transformation is complete and free of ...
... Portia and Bas- sanio ) . Keith Geary ( 1984 ) has also analyzed Portia's disguise , however , he distinguishes her disguise from that of Shakespeare's other heroines . He notes that Portia's male transformation is complete and free of ...
第 161 頁
... Portia in the fused male identities of Balthazar and the young male performer . In this regard , Portia differs from Julia and Rosalind , who have numerous asides both as them- selves and as their male alter egos , as well as from Viola ...
... Portia in the fused male identities of Balthazar and the young male performer . In this regard , Portia differs from Julia and Rosalind , who have numerous asides both as them- selves and as their male alter egos , as well as from Viola ...
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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