Demi-devils: The Character of Shakespeare's Villains |
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Page 18
... whole , each man feels ( or writes as if he felt ) pretty free to think what he pleases.12 Stoll makes clear what the starting point of his investigation is to be : " The dramatist's intention - that , I must believe , together with his ...
... whole , each man feels ( or writes as if he felt ) pretty free to think what he pleases.12 Stoll makes clear what the starting point of his investigation is to be : " The dramatist's intention - that , I must believe , together with his ...
Page 21
... whole , or a substantial part . . . of the play make stage sense ? Does it yield a practicable and . . . intelligible stage performance ? ” 22 It is also necessary , before discussing the question of whether specific characters are ...
... whole , or a substantial part . . . of the play make stage sense ? Does it yield a practicable and . . . intelligible stage performance ? ” 22 It is also necessary , before discussing the question of whether specific characters are ...
Page 50
... whole passage in providing , like Iago's opening speech , a plausible motive for what is to follow and a reasonable explanation of Richard's perverted be- havior . Though Stoll thinks otherwise , I believe that Richard's soliloquy on ...
... whole passage in providing , like Iago's opening speech , a plausible motive for what is to follow and a reasonable explanation of Richard's perverted be- havior . Though Stoll thinks otherwise , I believe that Richard's soliloquy on ...
Contents
Aaron and Iago | 25 |
Richard III Macbeth and Lady Macbeth | 47 |
Angelo and Shylock | 69 |
Copyright | |
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Common terms and phrases
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