Demi-devils: The Character of Shakespeare's VillainsBookman Associates, 1963 - 122 Seiten |
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Seite 27
... understandable to the audience , even though some of her subsequent conduct may not be . But , although Tamora ( like Lady Macbeth ) takes the initiative and plots revenge against the Romans , she soon relin- quishes the main role to ...
... understandable to the audience , even though some of her subsequent conduct may not be . But , although Tamora ( like Lady Macbeth ) takes the initiative and plots revenge against the Romans , she soon relin- quishes the main role to ...
Seite 92
... understandable than Regan and Gon- eril's treatment of Lear . To the typical audience , I suppose , none of the family ties are ordinarily thought to be closer and freer from rivalry than those which bind a father and his daughters . A ...
... understandable than Regan and Gon- eril's treatment of Lear . To the typical audience , I suppose , none of the family ties are ordinarily thought to be closer and freer from rivalry than those which bind a father and his daughters . A ...
Seite 93
The Character of Shakespeare's Villains Charles Norton Coe. Consequently , his actions become understandable in terms of human motivation instead of being conceived of as merely ful- filling demands of plot . Consider the following ...
The Character of Shakespeare's Villains Charles Norton Coe. Consequently , his actions become understandable in terms of human motivation instead of being conceived of as merely ful- filling demands of plot . Consider the following ...
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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