Demi-devils: The Character of Shakespeare's Villains |
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Page 15
... powers of characterization . The former writes : [ Shakespeare's ] characters are so copiously diversified , and some of them so justly pursued , that his works may be con- sidered as a map of life , a faithful miniature of human ...
... powers of characterization . The former writes : [ Shakespeare's ] characters are so copiously diversified , and some of them so justly pursued , that his works may be con- sidered as a map of life , a faithful miniature of human ...
Page 25
... powers of characterization seem to have forgotten the almost inhuman cruelty of Aaron , villain in this earliest Shakespearean tragedy of blood and horror . Indeed , it may have been the unwillingness of early scholars to accept Titus ...
... powers of characterization seem to have forgotten the almost inhuman cruelty of Aaron , villain in this earliest Shakespearean tragedy of blood and horror . Indeed , it may have been the unwillingness of early scholars to accept Titus ...
Page 54
... powers of a Burbage , a Garrick , and a Henderson , should at different periods have given it a popularity beyond other dramas of the same author.8 There is , of course , some truth in what Steevens has written , yet there is one ...
... powers of a Burbage , a Garrick , and a Henderson , should at different periods have given it a popularity beyond other dramas of the same author.8 There is , of course , some truth in what Steevens has written , yet there is one ...
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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