Demi-devils: The Character of Shakespeare's Villains |
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Page 19
... conventions of the theatre . It is only during the last dozen years [ wrote Muriel C. Brad- brook in 1935 ] that there has been any attempt to discover the conventions behind Shakepeare's characterization . . . The plays were read [ by ...
... conventions of the theatre . It is only during the last dozen years [ wrote Muriel C. Brad- brook in 1935 ] that there has been any attempt to discover the conventions behind Shakepeare's characterization . . . The plays were read [ by ...
Page 43
... conventions was the credibility of slander . But the discovery of these conventions is a relatively minor point in criticism ; the point I am trying to make is that the success or failure of Shakespeare's plays bears little relation to ...
... conventions was the credibility of slander . But the discovery of these conventions is a relatively minor point in criticism ; the point I am trying to make is that the success or failure of Shakespeare's plays bears little relation to ...
Page 110
... conventions and violated the unities ; we also know that in some of his earlier plays , notably Titus Andronicus , where he followed the convention of using a type villain with little motivation , individuality , or complexity , he ...
... conventions and violated the unities ; we also know that in some of his earlier plays , notably Titus Andronicus , where he followed the convention of using a type villain with little motivation , individuality , or complexity , he ...
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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 comedy 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 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 psychological queen 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