Demi-devils: The Character of Shakespeare's VillainsBookman Associates, 1963 - 122 Seiten |
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Seite 17
... present century by Logan P. Smith ) , 10 that " the plays of Shakspeare are less calculated for performance on a stage , than those of almost any other dramatist whatever . " On first reading , this suggests that one of the world's ...
... present century by Logan P. Smith ) , 10 that " the plays of Shakspeare are less calculated for performance on a stage , than those of almost any other dramatist whatever . " On first reading , this suggests that one of the world's ...
Seite 18
... present century , suspicious of Romantic enthusiasm and inclined toward skepticism and icon- oclasm , chose as one of their targets , not Shakespeare himself , but what his earlier critics had made of him . Though some of Professor ...
... present century , suspicious of Romantic enthusiasm and inclined toward skepticism and icon- oclasm , chose as one of their targets , not Shakespeare himself , but what his earlier critics had made of him . Though some of Professor ...
Seite 63
... present in Macbeth . Here we are moved by the spectacle of disintegration in this hero - villain , for Macbeth ... presents the spectacle of a potentially great man succumb- ing to evil . Bradley thinks that Macbeth was not entirely inno ...
... present in Macbeth . Here we are moved by the spectacle of disintegration in this hero - villain , for Macbeth ... presents the spectacle of a potentially great man succumb- ing to evil . Bradley thinks that Macbeth was not entirely inno ...
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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