The Lyrical Strain in Shakespeare's Early Dramas
| dc.contributor.advisor | Smith, Paul F. S.J. | en_US |
| dc.contributor.author | Welch, M. James C.S.J. | en_US |
| dc.contributor.cuauthor | Welch, M. James C.S.J. | en_US |
| dc.date.accessioned | 2016-11-22T16:26:31Z | |
| dc.date.available | 2016-11-22T16:26:31Z | |
| dc.date.issued | 1950 | en_US |
| dc.degree.discipline | English (graduate program) | en_US |
| dc.degree.grantor | Graduate School | en_US |
| dc.degree.level | MA (Master of Arts) | en_US |
| dc.degree.name | M.A. in English | en_US |
| dc.description.abstract | The lyrical strain in Shakespeare's early drama is "brought out "by Chambers in his statement that |"With Romeo and Juliet and A Midsummer Night's Dream, it (Richard the Second) belongs to the period of a deliberate literary experiment. For the space of a tragedy, a comedy, and a history, Shakespeare essayed to write drama in the lyrical vein, with his singing robe a on, with an abundance of passionate and highly coloured speech, and with the aid of rhyme and other devices of lyrical utterance." |Chambers expresses the opinion that Richard the Second is unlike the history play, Henry the Sixth; A Midsummer Nights Dream is different from that of As You Like It; and Romeo and Juliet is quite dissimilar to that of Hamlet or Macbeth, in that Richard the Second, A Midsummer Night's Dream, and Romeo and Juliet are treated of in light, airy, lyrical passages. | en_US |
| dc.description.note | ProQuest Traditional Publishing Option | en_US |
| dc.identifier.uri | http://hdl.handle.net/10504/101931 | |
| dc.language.iso | en_US | en_US |
| dc.publisher | Creighton University | en_US |
| dc.publisher.location | Omaha, Nebraska | en_US |
| dc.rights | A non-exclusive distribution right is granted to Creighton University and to ProQuest following the publishing model selected above. | en_US |
| dc.subject | Shakespeare | en_US |
| dc.title | The Lyrical Strain in Shakespeare's Early Dramas | en_US |
| dc.type | Thesis |