HamletPenguin UK, 7. 4. 2005 - Počet stran: 400 'The Mona Lisa of literature' T. S. Eliot |
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... matters. We should note first another kind of attempt to deal with the failure of Shakespearian characters to add up ... matter out ... (III.4.183–7) Gertrude doesn't reveal to the King what Hamlet has said to her, but does she allow ...
... matters. We should note first another kind of attempt to deal with the failure of Shakespearian characters to add up ... matter out ... (III.4.183–7) Gertrude doesn't reveal to the King what Hamlet has said to her, but does she allow ...
Strana
... matter. Focusing on the individual character, exceptional though he or she may be, is not the most promising way to understand human societies in general and the world of early modern drama in particular. The appearance of the Ghost at ...
... matter. Focusing on the individual character, exceptional though he or she may be, is not the most promising way to understand human societies in general and the world of early modern drama in particular. The appearance of the Ghost at ...
Strana
... matters; in effect, these characters have no privacy. First, Polonius and the King cultivate a regime of decoys, agents provocateurs, spies, informers and assassins, such that many private conversations are open to the state regulatory ...
... matters; in effect, these characters have no privacy. First, Polonius and the King cultivate a regime of decoys, agents provocateurs, spies, informers and assassins, such that many private conversations are open to the state regulatory ...
Strana
... matter, is the institution through which sexuality and gender are channelled into directions that suit the state. The institution of marriage is supposed to ensure that suitable and fit human beings will combine to secure the ...
... matter, is the institution through which sexuality and gender are channelled into directions that suit the state. The institution of marriage is supposed to ensure that suitable and fit human beings will combine to secure the ...
Strana
... matters?' (III.2.125). No wonder this innocent maiden ends up singing bawdy songs. When Ophelia's love story becomes unsustainable she falls back on a tale of exploitation and betrayal: Quoth she, 'Before you tumbled me, You promised me ...
... matters?' (III.2.125). No wonder this innocent maiden ends up singing bawdy songs. When Ophelia's love story becomes unsustainable she falls back on a tale of exploitation and betrayal: Quoth she, 'Before you tumbled me, You promised me ...
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action actor audience BARNARDO behaviour blood character Christian Claudius Claudius’s Danish dead dear Denmark doth e’en Elizabethan England Enter Hamlet Enter the King Exeunt Exit eyes F reads father fear Fortinbras friends gentleman Gertrude Ghost give God’s hast hath hear heart heaven honour in’t is’t Jephthah judgement Julius Caesar killed King and Queen King Claudius King Hamlet King of Denmark King’s Laertes Laertes’s look madness MARCELLUS marriage means misogyny mother murder nature night Norway o’er Ophelia OSRICK Paul Prescott performance perhaps phrase play play’s PLAYER poison Pollax Polonius Polonius’s pray Presumably Prince Prince Hamlet probably Pyrrhus Q2 and F Q2 reads Quarto rapiers revenge REYNALDO Richard II Rosencrantz and Guildenstern scene SECOND CLOWN seems sense Shakespeare soliloquy soul speak speech sweet sword tell theatre thee There’s thou thoughts tragedy Trumpets Voltemand what’s word