Nor does the idea of a moral order asserting itself against attack or want of conformity answer in full to our feelings regarding the tragic character. Andrew Coyle Bradley answerassertattack Change image and share on social
In speaking, for convenience, of devices and expedients, I did not intend to imply that Shakespeare always deliberately aimed at the effects which he produced. Andrew Coyle Bradley aimconveniencedeliberately Change image and share on social
We cannot arrive at Shakespeare's whole dramatic way of looking at the world from his tragedies alone, as we can arrive at Milton's way of regarding things, or at Wordsworth's or at Shelley's, by examining almost any one of their important works. Andrew Coyle Bradley arrivedramaticexamine share on social
In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character. Andrew Coyle Bradley charactercontributeconvulsion share on social
When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety. Andrew Coyle Bradley anxietyawaitbegin share on social
But, in addition, there is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections. Andrew Coyle Bradley additionalternationconstant share on social
We might not object to the statement that Lear deserved to suffer for his folly, selfishness and tyranny; but to assert that he deserved to suffer what he did suffer is to do violence not merely to language but to any healthy moral sense. Andrew Coyle Bradley assertdeservefolly share on social
