Demi-devils: The Character of Shakespeare's VillainsBookman Associates, 1963 - 122 |
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Strona 63
... moved by the spectacle of disintegration in this hero - villain , for Macbeth destroys himself . His ambition may be divided into two parts : in the first part of the play we see him tempted and trying to struggle against his ambition ...
... moved by the spectacle of disintegration in this hero - villain , for Macbeth destroys himself . His ambition may be divided into two parts : in the first part of the play we see him tempted and trying to struggle against his ambition ...
Strona 84
... moved to pity . After analyzing the play in detail , Palmer shows that Shylock is a comic character from beginning to end ; yet he qualifies this conclusion as follows : But alas for logic and the categories ! No - one can remain wholly ...
... moved to pity . After analyzing the play in detail , Palmer shows that Shylock is a comic character from beginning to end ; yet he qualifies this conclusion as follows : But alas for logic and the categories ! No - one can remain wholly ...
Strona 95
... moved by Edgar's speech describing the death of Gloucester and at- tempts to do some good before he dies . He tries to get through a reprieve for Lear and Cordelia , whom he has condemned to death . I pant for life . Some good I mean to ...
... moved by Edgar's speech describing the death of Gloucester and at- tempts to do some good before he dies . He tries to get through a reprieve for Lear and Cordelia , whom he has condemned to death . I pant for life . Some good I mean to ...
Spis treści
Aaron and Iago | 25 |
Richard III Macbeth and Lady Macbeth | 47 |
Angelo and Shylock | 69 |
Prawa autorskie | |
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Aaron acter action ambition Angelo Antonio appear Barabbas Bassianus behavior believe brother Cassio char Christian Cinthio's Claudius Coleridge comedy conscience consider conventions convincing Cordelia crime death Desdemona dominate their plays doth dramatic dramatist Duncan E. K. Chambers Edmund effective Elizabethan audiences evil example fact father fiendish flaws Gloucester Hamlet hath Heilman human husband hypocrisy Iago Iago's motivation II:iii Isabella justice Kent king Lady Macbeth Lear Levin Schücking lieutenancy lifelike look Measure for Measure Merchant of Venice mercy murder nature never nineteenth century critics Othello pardon passage plausible plot powers of characterization praise probably psychological accuracy queen realistic characterization Regan and Goneril regard remark remorse repent reveals revenge Richard Richard III Roderigo scholars Schücking seems Shake Shakespeare Shakespeare's characters Shakespeare's plays Shakespeare's powers Shakespeare's villains Shylock soliloquy soul speare's spectator stage Stoll sympathy Tamora thee thou tion Titus Andronicus tragedy unconvincing understandable wife