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 82 筆
第 36 頁
... calls him " the only son of my womb❞ ( 1.3.6 ) and tells him , " Thou art my warrior ; I holp to frame thee " ( 5.3 ... calling himself " her blood " ( 1.9.13-14 ) and her " the honour'd mould / Wherein this trunk was fram'd " ( 5.3.22 ...
... calls him " the only son of my womb❞ ( 1.3.6 ) and tells him , " Thou art my warrior ; I holp to frame thee " ( 5.3 ... calling himself " her blood " ( 1.9.13-14 ) and her " the honour'd mould / Wherein this trunk was fram'd " ( 5.3.22 ...
第 128 頁
... calls its appeal to our freedom and Marcuse and Adorno call its nega- tive and utopian dimension . They may underestimate the extent to which art may seduce us and put to sleep our critical powers , but they are surely right that it ...
... calls its appeal to our freedom and Marcuse and Adorno call its nega- tive and utopian dimension . They may underestimate the extent to which art may seduce us and put to sleep our critical powers , but they are surely right that it ...
第 176 頁
... calls Shylock by his name only twice ; for the rest of the scene she calls him Jew to his face . The reason for this discrimination is , of course , to set Shylock apart from the other characters . This it successfully does . Calling ...
... calls Shylock by his name only twice ; for the rest of the scene she calls him Jew to his face . The reason for this discrimination is , of course , to set Shylock apart from the other characters . This it successfully does . Calling ...
常見字詞
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