Demi-devils: The Character of Shakespeare's Villains |
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Page 51
... play is lifelike and that the speech just quoted shows some trace of conscience , the second scene in Act I , containing Richard's wooing of Lady Anne , certainly exceeds the limits of probability . Here , as in much of the play ...
... play is lifelike and that the speech just quoted shows some trace of conscience , the second scene in Act I , containing Richard's wooing of Lady Anne , certainly exceeds the limits of probability . Here , as in much of the play ...
Page 70
... play thematically ; therefore he does not see these two characters as symbols of justice and mercy . Swinburne's objection is on aesthetic grounds . He sees the play as a play , but one in which the artificial and theatrical ...
... play thematically ; therefore he does not see these two characters as symbols of justice and mercy . Swinburne's objection is on aesthetic grounds . He sees the play as a play , but one in which the artificial and theatrical ...
Page 88
... play , particularly the behavior of Lear and his daughters . Many critics have tried to explain the opening scenes . Coleridge , for example , describes the division of the kingdom , something that apparently has been decided upon when ...
... play , particularly the behavior of Lear and his daughters . Many critics have tried to explain the opening scenes . Coleridge , for example , describes the division of the kingdom , something that apparently has been decided upon when ...
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