Titlebook: Shakespeare‘s Tragic Imagination; Nicholas Grene Book 1992 Palgrave Macmillan, a division of Macmillan Publishers Limited 1992 Hamlet.King

易發(fā)怒

King Lear,f the play’s primitivism. But it is difficult to define how much of this notion of the primitive or prehistorical, the legendary or mythic, would have attached to the story of Lear in Shakespeare’s time. Lear, apparently an invention of Geoffrey of Monmouth as one of the successors to Brutus, Britai

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灰心喪氣

Watemelon

Enliven

Sacred and Secular, situations dramatised in sharply different, even opposed, imaginative milieus. I looked for origins of this pattern, for the evolution of alternative ways of imagining, in the English histories. In analysing the nine plays in the tragic mode from . to ., my aim was to consider how they appeared wit

歡笑

Troilus and Cressida,ech to Dido evoking the fall of Troy and the death of Priam. In both cases, the emphasis is on the remoteness of the original events, and the extraordinary skills of painter and actor which can make them live as though in a dramatic present.

Barter

Timon of Athens,here of . were rendered with an almost unnecessary specificity: the age of lago, Cassio’s Florentine origin, the strawberry-spotted handkerchief and its history, Desdemona’s maid Barbary, all filled the play with the thickening detail of human identities. In . there is no such individuation.

繁殖

Coriolanus,much invoked in . but never for more than formal rhetorical emphasis; they do not even vivify the language of the play with the sort of high colour and amplifying intensity of the mythic allusions in

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Nostalgia