Demi-devils: The Character of Shakespeare's Villains |
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Page 31
... and Elizabethan audiences would recognize him as such ; for , according to Elizabethan psychology , Aaron's blackness alone would do much to account for his villainy , since audiences in Shakespeare's day believed that there was a ...
... and Elizabethan audiences would recognize him as such ; for , according to Elizabethan psychology , Aaron's blackness alone would do much to account for his villainy , since audiences in Shakespeare's day believed that there was a ...
Page 32
He is given little motivation or individuality ; he is certainly no outstanding product of that artistic touch with which Shakespeare was presumably endowed and which , according to Pope , never failed him when it came to creating ...
He is given little motivation or individuality ; he is certainly no outstanding product of that artistic touch with which Shakespeare was presumably endowed and which , according to Pope , never failed him when it came to creating ...
Page 48
According to Elizabethan psychology , both villains fall into the same classification : both appear to have lost any inclination to do right and both are perverted enough to perform their crimes without being troubled by conscience .
According to Elizabethan psychology , both villains fall into the same classification : both appear to have lost any inclination to do right and both are perverted enough to perform their crimes without being troubled by conscience .
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Aaron accept According action Angelo appear attempt audience becomes beginning believe brother called Cassio century certainly character characterization Christian claims Claudius complete conclusion consider conventions convincing course crime critics death Desdemona drama earlier early Edmund effective Elizabethan evidence evil example explain fact father feeling friends give given Goneril Hamlet hand hath human husband Iago Iago's interest interpretation Isabella justice kind King Lady Macbeth Lear less lifelike lives London look means Measure mind motivation murder nature never once opening Othello passage person play plot powers praise present probably problem question realistic reason Regan regard remark reveals revenge Richard scene seems Shake Shakespeare Shylock soliloquy stage Stoll suggests sympathy tells thee thou thought tion Titus Andronicus Tragedy true trying understandable University villains whole wife writes