The Meaning of Shakespeare, Volume 1, Volume 1University of Chicago Press, Feb 15, 2009 - 408 pages In two magnificent and authoritative volumes, Harold C. Goddard takes readers on a tour through the works of William Shakespeare, celebrating his incomparable plays and unsurpassed literary genius. |
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Page ix
... prove — that he escaped that fate . Because he mastered the theater , he saw through it . And so the time seems to have come for a return to Shakespeare the poet , ✸ for a consideration of his works not merely as poetry in the romantic ...
... prove — that he escaped that fate . Because he mastered the theater , he saw through it . And so the time seems to have come for a return to Shakespeare the poet , ✸ for a consideration of his works not merely as poetry in the romantic ...
Page 3
... proves , that the function of a bible is to rebuke and inspire the present , not just to record the past . It is not often necessary to wrench a text so far from its original sense as Swift did on this occasion . But better that than ...
... proves , that the function of a bible is to rebuke and inspire the present , not just to record the past . It is not often necessary to wrench a text so far from its original sense as Swift did on this occasion . But better that than ...
Page 21
... prove nothing worth ... To grow unto himself was his desire . Blood upon the flowers is his symbol for what forcibly interferes with this basic right of life , red in the morning his figure for a precocious passion that predicts tempest ...
... prove nothing worth ... To grow unto himself was his desire . Blood upon the flowers is his symbol for what forcibly interferes with this basic right of life , red in the morning his figure for a precocious passion that predicts tempest ...
Page 27
... proved the ruin of thousands of promising young playwrights . He con- tinued to make use of the popular appeal that lies in the ingenious plot and theatrical situation , but he subordinated these things progressively to other ends or ...
... proved the ruin of thousands of promising young playwrights . He con- tinued to make use of the popular appeal that lies in the ingenious plot and theatrical situation , but he subordinated these things progressively to other ends or ...
Page 31
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Contents
1 | |
15 | |
25 | |
28 | |
V Titus Andronicus | 33 |
VI Richard III | 35 |
VII The Two Gentlemen of Verona | 41 |
VIII Loves Labours Lost | 48 |
XIV King John | 140 |
XV Richard II | 148 |
XVI Henry IV Part 1 Henry IV Part II The Merry Wives of Windsor | 161 |
XVII Henry V | 215 |
XVIII Henry VIII | 269 |
XIX Much Ado about Nothing | 271 |
XX As You Like It | 281 |
XXI Twelfth Night | 294 |
IX The PoetPlaywright | 55 |
X The Taming of the Shrew | 68 |
XI A MidsummerNights Dream | 74 |
XII The Merchant of Venice | 81 |
XIII Romeo and Juliet | 117 |
XXII Julius Caesar | 307 |
XXIII Hamlet | 331 |
Index | 387 |
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Common terms and phrases
Antonio Bassanio battle beginning blood Brutus called Capulet casket Cassius character Comedy Comedy of Errors comes cries critics crown dead death devil disguise doth dramatic Duke eyes fact Falstaff father fear fool genius Gentlemen of Verona Ghost give Hamlet hath heart heaven Henry Henry IV Henry VI Henry's hero honor Hotspur imagination Julius Caesar Justice kill King Lear King's Laertes lines lord lover Merchant of Venice Mercutio mercy metaphor Midsummer-Night's Dream mind moral mother murder nature never night peace play poet poetry Polonius Portia Prince revenge Richard Richard II Romeo and Juliet Rosalind says scene seems sense Shake Shakespeare Shylock soul speak speech spirit story sweet symbol tell theater theatrical thee theme things thou thought throne Touchstone tragedy true truth turns Twelfth Night Tybalt unconscious utter words youth