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In the following list, figures are listed by the name of the character, as it appears in Shakespeare's plays, and includes a narrative of the role of the character in the play: which may, or may not, reflect the role of the figure in history. The list contains duplicates: for example, Henry Percy, Earl of Northumberland will be found listed ...
Numerous characters are clowns, or are comic characters originally played by the clowns in Shakespeare's company. See also Fool and Shakespearian fool. A cobbler and a carpenter are among the crowd of commoners gathered to welcome Caesar home enthusiastically in the opening scene of Julius Caesar. Cobweb is a fairy in A Midsummer Night's Dream.
He is said to be Shakespeare's only Irish character. Maecenas is a follower of Caesar in Antony and Cleopatra. Malcolm is the eldest son of Duncan in Macbeth. Malvolio is steward to, and secretly in love with, Olivia in Twelfth Night. He is gulled by Maria, Sir Toby Belch, Feste, Fabian and Sir Andrew Aguecheek, and is imprisoned as a madman.
For Shakespeare, as he began to write, both traditions were alive; they were, moreover, filtered through the recent success of the University Wits on the London stage. By the late 16th century, the popularity of morality and academic plays waned as the English Renaissance took hold, and playwrights like Thomas Kyd and Christopher Marlowe revolutionised theatre.
The above tables exclude Shakespeare's Titus Andronicus (composed c. 1589, revised c. 1593), which is not closely based on Roman history or legend but which, it has been suggested, may have been written in reply to Marlowe's Dido, Queene of Carthage, Marlowe's play presenting an idealised picture of Rome's origins, Shakespeare's "a terrible ...
Pages in category "People associated with Shakespeare" The following 29 pages are in this category, out of 29 total. This list may not reflect recent changes .
This page was last edited on 23 January 2025, at 15:42 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Characters, to him, centres excessively on Shakespeare's characters and, worse, Hazlitt "confuses fiction and reality" and discusses fictional characters as though they were real people. [331] Yet he also notes, a half-century after Saintsbury, and following Schneider's lead, that for all of Hazlitt's impressionism, "there is more theory in ...