Demi-devils: The Character of Shakespeare's VillainsBookman Associates, 1963 - 122 Seiten |
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Seite 19
... accepted with or without moti- vation . They were accepted as types because they were black like Aaron , deformed like Richard III , Italian like Iago , or illegitimate like Edmund . This convention is offered to explain what , to some ...
... accepted with or without moti- vation . They were accepted as types because they were black like Aaron , deformed like Richard III , Italian like Iago , or illegitimate like Edmund . This convention is offered to explain what , to some ...
Seite 25
... accept Titus Andronicus as Shakespeare's own work that gave impetus to the controversy over the author- ship of the play even though it was included in the First Folio of 1623 brought out by Heminge and Condell , friends and fellow ...
... accept Titus Andronicus as Shakespeare's own work that gave impetus to the controversy over the author- ship of the play even though it was included in the First Folio of 1623 brought out by Heminge and Condell , friends and fellow ...
Seite 52
... accept the " throne majestical " now in the hands of " blemish'd stock ” under whose rule England is " defac'd with scars of infamy " ( III : vii : 118- 126 ) . Richard pretends to disagree about the quality of the in- cumbent ...
... accept the " throne majestical " now in the hands of " blemish'd stock ” under whose rule England is " defac'd with scars of infamy " ( III : vii : 118- 126 ) . Richard pretends to disagree about the quality of the in- cumbent ...
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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