Shakespeare's SoliloquiesRoutledge, 2013年4月15日 - 224 頁 First published in 1987. |
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第 1 到 5 筆結果,共 26 筆
第 頁
... reveals her hidden love ( I.i.75-96 , 212-25 ) 60 MEASURE FOR MEASURE Angelo discovers his human nature ( II.ü. 162-87 ) 65 CYMBELINE Iachimo in Imogen's bedchamber ( II.ü.11-51 ) 72 THE TEMPEST Prospero renounces his magic power ( V.i. ...
... reveals her hidden love ( I.i.75-96 , 212-25 ) 60 MEASURE FOR MEASURE Angelo discovers his human nature ( II.ü. 162-87 ) 65 CYMBELINE Iachimo in Imogen's bedchamber ( II.ü.11-51 ) 72 THE TEMPEST Prospero renounces his magic power ( V.i. ...
第 6 頁
... revealed to us in gradual stages : Shakespeare increasingly discovers the aptness of the soliloquy as a mode of human expression , treating it as a necessary supplement to dialogue , not just as a useful , or even indispensable ...
... revealed to us in gradual stages : Shakespeare increasingly discovers the aptness of the soliloquy as a mode of human expression , treating it as a necessary supplement to dialogue , not just as a useful , or even indispensable ...
第 9 頁
... reveals that the soliloquy requires a specific approach , and that it is more likely to yield up its secrets to our understanding if we look at it from different angles and in different contexts . What , then , are the appropriate ...
... reveals that the soliloquy requires a specific approach , and that it is more likely to yield up its secrets to our understanding if we look at it from different angles and in different contexts . What , then , are the appropriate ...
第 16 頁
... reveal some of his plans for the future and to give us some intimation of the role he is going to play . For all of this , models and established types can be found in pre- Shakespearean drama , so that in this soliloquy we see ...
... reveal some of his plans for the future and to give us some intimation of the role he is going to play . For all of this , models and established types can be found in pre- Shakespearean drama , so that in this soliloquy we see ...
第 20 頁
... revealed of his plans and thoughts has been deliberately controlled . But now , profoundly shaken by the nightmare , he appears to speak as he is experiencing the shock and to express thoughts emanating from different levels of con ...
... revealed of his plans and thoughts has been deliberately controlled . But now , profoundly shaken by the nightmare , he appears to speak as he is experiencing the shock and to express thoughts emanating from different levels of con ...
內容
13 | |
19 | |
KING JOHN | 29 |
Falstaffs reflections on honour V i 12541 | 38 |
TWO GENTLEMEN OF VERONA | 45 |
TWELFTH NIGHT | 51 |
ALLS WELL THAT ENDS WELL | 60 |
CYMBELINE | 72 |
35 | 100 |
OTHELLO | 163 |
KING LEAR | 171 |
CONCLUSION | 179 |
NOTES | 193 |
91 | 195 |
109 | 202 |
SELECT BIBLIOGRAPHY | 210 |
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常見字詞
abstract action actor already Angelo apostrophe appearance audience audience's awareness becomes beginning Bertram Brutus character close comedy comic concrete contrast convey Cymbeline dagger death Desdemona dialogue dramatic dramatists earlier effect Elizabethan emotions epithalamium expression eyes Falstaff father feelings figure final soliloquy follow further Gentlemen of Verona gestures give Hamlet hath Helena honour human Iachimo II.ii images imagination Imogen impression inner Isabella Julius Caesar King Lear Lady Macbeth language last soliloquy Launce Lear's lines look loquy lovers magic Malvolio mind monologue murder nature night observation opening Othello particular passage plot pre-Shakespearean preceding scenes presented Prospero questions reflection reveal rhetorical Richard Richard III role Romeo and Juliet sense sentence Shakespeare Shakespeare's plays Shakespeare's soliloquies situation sleep soli soliloquizing speeches speaker speaks spoken style thee thou thoughts tragedies tragic Twelfth Night Tybalt utterances vision whole words