Titlebook: Victorian Shakespeare; Volume 2: Literature Gail Marshall (Senior Lecturer in Victorian Litera Book 2003 Palgrave Macmillan, a division of

有惡臭

Shakespeare and the Death of Tennyson,ed across the weald of Sussex and the line of South Downs visible from the poet’s window, as Hallam Tennyson tells us in his . of his father. . In the closing moments of his life, Tennyson found Shakespeare much on his mind and wanted him close at hand. A day earlier he had asked his son for ., ‘thr

Preamble

,‘The Names’: Robert Browning’s ‘Shaksperean Show’,hether from Browning scholars or those interested in the Victorian reception of Shakespeare. There is no separate mention of it in the standard Browning bibliographies.. Biographers make nothing of it: Mrs Orr (1891) gives it a passing mention, Griffin and Minchin (1910), Ward (1967–69), Irvine and

Ancestor

obtuse

Shakespeare, the Actress and the Prostitute: Professional Respectability and Private Shame in Georgespearean roles. ., in particular, seems to have inspired this type of mythologisation: Edmund Kean died a few days after collapsing on-stage while playing the Moor of Venice opposite his son Charles as Iago at the line ‘Farewell, Othello’s occupation’s gone!’, and there are reports of Junius Brutus

脆弱么

Tortuous

Book 2003enth-century novelists, poets and critics including Dickens, Trollope, Eliot, Tennyson, Browning and Ruskin. Shakespeare provided the Victorians with ways of thinking about the authority of the past, about the emergence of a new mass culture, about the relations between artistic and industrial produ

optic-nerve

Implicit and Explicit Reason: George Eliot and Shakespeare,e for the task — even though Morley himself had earlier approached Matthew Arnold and John Seeley, who both declined. Herbert Spencer had called George Eliot the female Shakespeare. Alexander Main said that she had done for the Novel what Shakespeare did for the Drama. The very breadth of her sympathy was frequently described as Shakespearean..

condemn

悶熱

Shakespeare, the Actress and the Prostitute: Professional Respectability and Private Shame in Georgaying the Moor of Venice opposite his son Charles as Iago at the line ‘Farewell, Othello’s occupation’s gone!’, and there are reports of Junius Brutus Booth and Ira Aldridge getting carried away in their performances of Othello and nearly suffocating their respective Desdemonas..

antiandrogen