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 89
... opening scenes . For example , Lear says of Cordelia , ' I lov'd her most " ( I : i : 125 ) , a statement corroborated by Goneril's remark , " He always lov'd our sister most " ( I : i : 293 ) . Both these statements suggest that Regan ...
... opening scenes . For example , Lear says of Cordelia , ' I lov'd her most " ( I : i : 125 ) , a statement corroborated by Goneril's remark , " He always lov'd our sister most " ( I : i : 293 ) . Both these statements suggest that Regan ...
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