Hamlet Closely ObservedAthlone Press, 1985 - Počet stran: 316 A major interpretative account of Shakespeare's play, this is a close scrutiny which will engage readers directly with the text and perfomance of the work. The Renaissance code of honor is seen to be of central importance to the character of the hero, his actions, and to the play as a whole; and, viewed in this light, there is fresh revelation of the character of Hamlet himslef and of the dramatic world of which he is a part. Mr. Dodsworth challenges the conventional and traditional reading of Hamlet at many points. But he enforces no single overall meaning and readers are encouraged to remain sensiive to their own individual understanding and response. |
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Strana 96
... speaks the first fourteen lines about Pyrrhus tends to reduce the symmetry of the speeches ( an external ... speaks on Hamlet's behalf . Hamlet speaks for himself the most pertinent lines of ' the player's speech ' . The points of ...
... speaks the first fourteen lines about Pyrrhus tends to reduce the symmetry of the speeches ( an external ... speaks on Hamlet's behalf . Hamlet speaks for himself the most pertinent lines of ' the player's speech ' . The points of ...
Strana 154
... speaks as an aristocrat , one to whom plebeian town - criers are offensive , and he warns the actors that they will ... speaks good sense , he speaks it in the tone of a harangue . The players can do little but shuffle their feet and ...
... speaks as an aristocrat , one to whom plebeian town - criers are offensive , and he warns the actors that they will ... speaks good sense , he speaks it in the tone of a harangue . The players can do little but shuffle their feet and ...
Strana 169
... speaks in the couplets that belong to ' The Mousetrap ' , but they are not couplets to which we can afford to condescend : I do believe you think what now you speak ; But what we do determine , oft we break . Purpose is but the slave to ...
... speaks in the couplets that belong to ' The Mousetrap ' , but they are not couplets to which we can afford to condescend : I do believe you think what now you speak ; But what we do determine , oft we break . Purpose is but the slave to ...
Obsah
Raising questions | 35 |
Hamlet and the Ghost | 49 |
Hamlets weakness | 69 |
Autorská práva | |
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action actor already ambiguous appears associated audience behaviour body cause character Claudius comes concern contrast course court death describes doubt effect example expressed fact Fate father feel force further Gertrude Ghost given gives Hamlet hand heart honesty honour Horatio human idea imagine implies important individual interest interpretation kind King King's Laertes least lines look madness matter meaning merely mind moral mother motive nature offered once opening Ophelia person physical play players Polonius possible present prince Prosser Providence Queen question reading reason reference reflects regard relation response revenge role Rosencrantz and Guildenstern says scene seems seen sense Shakespeare situation social soliloquy soul speaks speech spirit stage stands suggests surely things thought turn understand virtue wants weakness whole