Demi-devils: The Character of Shakespeare's VillainsBookman Associates, 1963 - 122 Seiten |
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Seite 100
... Claudius seem on their first appearance to be able to bear the burden of capital crime with scarcely a shudder . And even if one had no reason to demur from Schücking's theory of character representation , I do not see that it applies ...
... Claudius seem on their first appearance to be able to bear the burden of capital crime with scarcely a shudder . And even if one had no reason to demur from Schücking's theory of character representation , I do not see that it applies ...
Seite 101
... Claudius ' remorse will show that this trait is realistically portrayed . It is clearly not the kind of remorse that we find in Edmund , remorse in- troduced for no other purpose than to advance the plot . With Claudius , remorse occurs ...
... Claudius ' remorse will show that this trait is realistically portrayed . It is clearly not the kind of remorse that we find in Edmund , remorse in- troduced for no other purpose than to advance the plot . With Claudius , remorse occurs ...
Seite 104
... Claudius may bite his lip , but his answer to the Prince is always polite . A clever man , his mo- tives , as with all of us , are mixed ; his forbearance with Hamlet - publicly - can only redound to his credit and Hamlet's obloquy ...
... Claudius may bite his lip , but his answer to the Prince is always polite . A clever man , his mo- tives , as with all of us , are mixed ; his forbearance with Hamlet - publicly - can only redound to his credit and Hamlet's obloquy ...
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Abschnitt 3 | 11 |
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Aaron accept According action Angelo appear attempt audience becomes beginning believe brother called Cassio century certainly character characterization Christian claims Claudius comedy consider conventions convincing course crime critics death Desdemona drama earlier early Edmund effective Elizabethan evidence evil example explain fact father feeling friends give given Goneril Hamlet hand hath human husband Iago Iago's interest interpretation Isabella justice King Lady Macbeth Lear less lifelike lives London look means Measure mind motivation murder nature never once opening Othello passage person play plot powers praise present probably problem psychological queen question realistic reason Regan regard remark reveals revenge Richard scene seems Shake Shakespeare Shylock soliloquy stage Stoll suggests sympathy tells thee thou thought tion Titus Andronicus Tragedy true trying understandable University villains whole wife writes