Othello: New PerspectivesVirginia Mason Vaughan, Kent Cartwright |
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Page 81
... comes " ( 4.1.99 ) , Bianca in " Look where she comes " ( 4.1.145 ) , and Othello in " Look where he comes ! " ( 3.3.330 ) . Since the first and third of these appear in asides , the imperatives may be directed straight out of the ...
... comes " ( 4.1.99 ) , Bianca in " Look where she comes " ( 4.1.145 ) , and Othello in " Look where he comes ! " ( 3.3.330 ) . Since the first and third of these appear in asides , the imperatives may be directed straight out of the ...
Page 84
... come naturally to hand . I wish , however , to conclude my survey of Iago's verbal action by suggesting that Orkin may ... comes in the repeated " heart . " The " heart " of line 62 , itself partly a figure , being the seat ( as we say ) ...
... come naturally to hand . I wish , however , to conclude my survey of Iago's verbal action by suggesting that Orkin may ... comes in the repeated " heart . " The " heart " of line 62 , itself partly a figure , being the seat ( as we say ) ...
Page 167
... comes not only in heroes exalted or villains punished , but in a recognition of characters by each other that reaches deeper than the paradigms by which they have lived . Before the duel , Claudius observes Hamlet's free and generous ...
... comes not only in heroes exalted or villains punished , but in a recognition of characters by each other that reaches deeper than the paradigms by which they have lived . Before the duel , Claudius observes Hamlet's free and generous ...
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