Demi-devils: The Character of Shakespeare's Villains |
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Page 37
... opening chapter of Magic in the Web : " I wish not to disparage the theater but to argue that some writing for the theater , such as Shake- speare's , at once satisfies the requirements of the theater and goes way beyond them ; such ...
... opening chapter of Magic in the Web : " I wish not to disparage the theater but to argue that some writing for the theater , such as Shake- speare's , at once satisfies the requirements of the theater and goes way beyond them ; such ...
Page 51
... opening of the play , it sets a tone of unreality and implausibility . We noticed a similar flaw in Titus Andronicus where the atroc- ities on both sides at the beginning of the play marked it as a drama in which sensational violence ...
... opening of the play , it sets a tone of unreality and implausibility . We noticed a similar flaw in Titus Andronicus where the atroc- ities on both sides at the beginning of the play marked it as a drama in which sensational violence ...
Page 88
... 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 tragedy ...
... 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 tragedy ...
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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