Demi-devils: The Character of Shakespeare's Villains |
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Page 20
... lifelike , is necessary for effective exposition . According to Stew- art , " Schücking's first discovery about Shakespeare's characters is this : that the dramatist frequently makes them speak of them- selves with an unnatural ...
... lifelike , is necessary for effective exposition . According to Stew- art , " Schücking's first discovery about Shakespeare's characters is this : that the dramatist frequently makes them speak of them- selves with an unnatural ...
Page 21
... lifelike , to define “ lifelike " by setting up certain criteria as a base for judgment ; for though I do not wish to discount the conventions listed earlier , I think it can be shown that some psychological accuracy is required for ...
... lifelike , to define “ lifelike " by setting up certain criteria as a base for judgment ; for though I do not wish to discount the conventions listed earlier , I think it can be shown that some psychological accuracy is required for ...
Page 56
... lifelike than that of Richard , who reveals a perverted gaiety whenever he contemplates , executes , or reflects upon his most desperate crimes . Upon parting from his brother Clarence , who is being led off to prison , Richard says ...
... lifelike than that of Richard , who reveals a perverted gaiety whenever he contemplates , executes , or reflects upon his most desperate crimes . Upon parting from his brother Clarence , who is being led off to prison , Richard says ...
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