Demi-devils: The Character of Shakespeare's Villains |
From inside the book
Results 1-3 of 17
Page 20
... explain and boast of their villainy to the audience , and even praise the heroes . This practice , though perhaps not lifelike , is necessary for effective exposition . According to Stew- art , " Schücking's first discovery about ...
... explain and boast of their villainy to the audience , and even praise the heroes . This practice , though perhaps not lifelike , is necessary for effective exposition . According to Stew- art , " Schücking's first discovery about ...
Page 32
... explain whatever falls short of his best in terms of the conventions of the age or chang- ing styles in dramatic production . For example , in my mono- graph I was criticized as follows : " Where this 32 Demi - Devils : The Character of ...
... explain whatever falls short of his best in terms of the conventions of the age or chang- ing styles in dramatic production . For example , in my mono- graph I was criticized as follows : " Where this 32 Demi - Devils : The Character of ...
Page 88
... explain the opening scenes . Coleridge , for example , describes the division of the kingdom , something that apparently has been decided upon when the play opens , as intended to reveal those aspects of Lear's character on which the ...
... explain the opening scenes . Coleridge , for example , describes the division of the kingdom , something that apparently has been decided upon when the play opens , as intended to reveal those aspects of Lear's character on which the ...
Other editions - View all
Common terms and phrases
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