Othello: New PerspectivesVirginia Mason Vaughan, Kent Cartwright |
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Page 165
... Emilia provides . She perfectly cap- tures the audience's reflexes , its utter intolerance of any of Othello's defenses and its need to have the murder shouted from the rooftops . Audiences may be particularly desperate for explosive ...
... Emilia provides . She perfectly cap- tures the audience's reflexes , its utter intolerance of any of Othello's defenses and its need to have the murder shouted from the rooftops . Audiences may be particularly desperate for explosive ...
Page 167
... Emilia die alone , unremarked . Emilia's Willow song heightens the pathos of her desertion ; likewise she must lengthen out the an- nouncement of her real death because no one else in the play marks it : " So come my soul to bliss , as ...
... Emilia die alone , unremarked . Emilia's Willow song heightens the pathos of her desertion ; likewise she must lengthen out the an- nouncement of her real death because no one else in the play marks it : " So come my soul to bliss , as ...
Page 266
... Emilia " just gave Desdemona's handkerchief to Iago . I would have been more loyal to Desdemona , because she treated Emilia better than lago did . " And another spoke of feeling " the pain and guilt Emilia must have felt because she ...
... Emilia " just gave Desdemona's handkerchief to Iago . I would have been more loyal to Desdemona , because she treated Emilia better than lago did . " And another spoke of feeling " the pain and guilt Emilia must have felt because she ...
Contents
List of Contributors | 9 |
The Second Quarto of Othello and the Question | 26 |
What needs | 48 |
Copyright | |
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action appears asks associated attempt audience authority becomes body called Cambridge Cassio character close comes course create critics Desdemona direct discussion earlier edition editors effect Elizabethan Emilia emotional essay evidence example eyes fall feel female figure final gaze give hand honest Iago Iago's innocent kind lago language later light London look male meaning mind Moor murder nature never night once opening Othello passion perception performance person play play's playgoer position possible present properties quarto question readers reading reference repetition represents response reveals rhetorical Roderigo scene seems sense Shakespeare shot shows soliloquy speak spectators speech stage suggest tells Theatre theory things thou thought tion tragedy Tree turn understand University Press voice wife woman women York