Demi-devils: The Character of Shakespeare's Villains |
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Page 17
... tion . Of good and evil , in all their subtlest and sublimest forms of thought and action and revelation , he knew more than ever it has been given to any other man to know.9 Even when nineteenth century critics seem to be qualifying ...
... tion . Of good and evil , in all their subtlest and sublimest forms of thought and action and revelation , he knew more than ever it has been given to any other man to know.9 Even when nineteenth century critics seem to be qualifying ...
Page 32
... tion and initiative of his own . " 7 Though Professor Sargent regards this development of Aaron as giving the Moor an element of individuality , actually the prom . inence of Aaron , whose motivation is less convincing than that of ...
... tion and initiative of his own . " 7 Though Professor Sargent regards this development of Aaron as giving the Moor an element of individuality , actually the prom . inence of Aaron , whose motivation is less convincing than that of ...
Page 65
... tion , not altogether trivial , that Macbeth's father , and Lady Macbeth's grandfather , brother , and first husband had all been slain in varying circumstances of treachery and violence by Duncan's unamiable predecessor , Malcolm the ...
... tion , not altogether trivial , that Macbeth's father , and Lady Macbeth's grandfather , brother , and first husband had all been slain in varying circumstances of treachery and violence by Duncan's unamiable predecessor , Malcolm the ...
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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