Demi-devils: The Character of Shakespeare's VillainsBookman Associates, 1963 - 122 Seiten |
Im Buch
Ergebnisse 1-3 von 9
Seite 19
... soliloquy . Villains are villains ; there is no need to ask why . . . . Besides , he is an Italian , and therefore . . . treacherous , jealous and Machia- vellian . " 16 2 ) Elizabethan audiences sometimes regarded vil- lains as stock ...
... soliloquy . Villains are villains ; there is no need to ask why . . . . Besides , he is an Italian , and therefore . . . treacherous , jealous and Machia- vellian . " 16 2 ) Elizabethan audiences sometimes regarded vil- lains as stock ...
Seite 27
... soliloquy at the beginning of act two is necessary for expository purposes ; his first conversation with Tamora is also part of the exposition , essential if the audience is to know who will be Tamora's chief ally in revenge . In tact ...
... soliloquy at the beginning of act two is necessary for expository purposes ; his first conversation with Tamora is also part of the exposition , essential if the audience is to know who will be Tamora's chief ally in revenge . In tact ...
Seite 48
... soliloquies . So far , Richard is like Aaron ; but Shakespeare has raised him several steps higher on our scale of ... soliloquy in 3 Henry VI : Would he [ King Edward ] were wasted , marrow , bones , and all , That from his loins no ...
... soliloquies . So far , Richard is like Aaron ; but Shakespeare has raised him several steps higher on our scale of ... soliloquy in 3 Henry VI : Would he [ King Edward ] were wasted , marrow , bones , and all , That from his loins no ...
Inhalt
Abschnitt 1 | 7 |
Abschnitt 2 | 9 |
Abschnitt 3 | 11 |
Urheberrecht | |
6 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
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