Titlebook: Nehru; B. N. Pandey Book 1976 Palgrave Macmillan, a division of Macmillan Publishers Limited 1976 India.Prime.prime number

Firefly

運(yùn)動(dòng)性

Book 1976India‘s first prime minister‘s rise to power and his attempts to give life to his visions of a new world order.

Lacunar-Stroke

https://doi.org/10.1007/978-1-349-00792-9India; Prime; prime number

FLAT

veniently reached by London Bridge or the Thames wherries, which were the taxis of that day. Here the Admiral’s Men had their permanent theatre, the Rose, while Shakespeare’s temporary association with the Swan may have prepared the move. Land was leased near these two, but exceptional arrangements

消音器

Latency

B. N. Pandeycharacter of the ideologies it addresses — patriotism, national unity, the justice of foreign conquest; but rooted, at another level, in the pluralistic discourse of the play itself. Critical responses to the play tended to be wholly positive or wholly negative until modern critics began to reconcil

倫理學(xué)

B. N. Pandeyl discussion of English society in the 1590s. To insist that it is a play is to insist that material developed in the course of such discussion is essentially subordinate to and subordinated by the play. This essay will concentrate therefore on the means by which Shakespeare organizes his perception

anagen

B. N. Pandey and the destructive, moral conflicts between the good and the evil, metaphysical conflicts between the sacred and the unholy. Nor does the play disappoint us, for to consider it as a fable is genuinely to respond to something in both its structure and its poetic power. If it shares with . the excit

使害怕

B. N. Pandeye play set in ‘barbarous times, in which alone the tragic ground-work of the story could be laid’;. and most critics today, mindful of its uncertain gods and savage men, would acknowledge a measure of truth in the claim that Shakespeare imagined a pre-Christian Britain for .. Alternatively, however,

SEED

B. N. Pandeyt developed in the later sixteenth century was a remarkably eclectic form, in practice rather unlike the stolid factual preoccupations of the Tudor historiographical narratives. The ‘English history’ plays which appeared on the public stages of Elizabethan London from the 1580s were as likely to be