Demi-devils: The Character of Shakespeare's Villains |
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Page 18
... audience was more interested in story , plot , and action than in character : what they [ the average audience ] are watching and what they are enjoying is not the characterization of Hamlet , of Lear , of Macbeth , or Othello , but the ...
... audience was more interested in story , plot , and action than in character : what they [ the average audience ] are watching and what they are enjoying is not the characterization of Hamlet , of Lear , of Macbeth , or Othello , but the ...
Page 20
... audience may easily understand their roles . " 19 5 ) There is a convention that disguises will be convincing even though the audience must obviously be able to recognize the character through his disguise . 6 ) Slander will be believed ...
... audience may easily understand their roles . " 19 5 ) There is a convention that disguises will be convincing even though the audience must obviously be able to recognize the character through his disguise . 6 ) Slander will be believed ...
Page 111
... audience understand rather than sympathize with villains because of the point mentioned above that sympathy for a villain may detract from the effective- ness of the play . For those who insist upon sympathetic presenta- tion of ...
... audience understand rather than sympathize with villains because of the point mentioned above that sympathy for a villain may detract from the effective- ness of the play . For those who insist upon sympathetic presenta- tion of ...
Contents
Aaron and Iago | 25 |
Richard III Macbeth and Lady Macbeth | 47 |
Angelo and Shylock | 69 |
Copyright | |
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Aaron acter action ambition Angelo Antonio appear Barabbas Bassianus behavior believe brother Cassio char Christian Cinthio's Claudius Coleridge comedy conscience consider conventions convincing Cordelia crime death Desdemona dominate their plays doth dramatic dramatist Duncan E. K. Chambers Edmund effective Elizabethan audiences evil example fact father fiendish flaws Gloucester Hamlet hath Heilman human husband hypocrisy Iago Iago's motivation II:iii Isabella justice Kent king Lady Macbeth Lear Levin Schücking lieutenancy lifelike look Measure for Measure Merchant of Venice mercy murder nature never nineteenth century critics Othello pardon passage plausible plot powers of characterization praise probably psychological accuracy queen realistic characterization Regan and Goneril regard remark remorse repent reveals revenge Richard Richard III Roderigo scholars Schücking seems Shake Shakespeare Shakespeare's characters Shakespeare's plays Shakespeare's powers Shakespeare's villains Shylock soliloquy soul speare's spectator stage Stoll sympathy Tamora thee thou tion Titus Andronicus tragedy unconvincing understandable wife