Demi-devils: The Character of Shakespeare's VillainsBookman Associates, 1963 - 122 Seiten |
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Seite 20
... lifelike , is necessary for effective exposition . According to Stew- art , " Schücking's first discovery about Shakespeare's characters is this : that the dramatist frequently makes them speak of them- selves with an unnatural ...
... lifelike , is necessary for effective exposition . According to Stew- art , " Schücking's first discovery about Shakespeare's characters is this : that the dramatist frequently makes them speak of them- selves with an unnatural ...
Seite 21
... lifelike , to define “ lifelike ” by setting up certain criteria as a base for judgment ; for though I do not wish to discount the conventions listed earlier , I think it can be shown that some psychological accuracy is required for ...
... lifelike , to define “ lifelike ” by setting up certain criteria as a base for judgment ; for though I do not wish to discount the conventions listed earlier , I think it can be shown that some psychological accuracy is required for ...
Seite 56
... lifelike than that of Richard , who reveals a perverted gaiety whenever he contemplates , executes , or reflects upon his most desperate crimes . Upon parting from his brother Clarence , who is being led off to prison , Richard says ...
... lifelike than that of Richard , who reveals a perverted gaiety whenever he contemplates , executes , or reflects upon his most desperate crimes . Upon parting from his brother Clarence , who is being led off to prison , Richard says ...
Inhalt
Abschnitt 1 | 7 |
Abschnitt 2 | 9 |
Abschnitt 3 | 11 |
Urheberrecht | |
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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