Abstract
This remark is dotlbly interesting, since, first, it denies the notion of personal heroism which is deeply associated with chivalric ideal of honour, and second, it denies one of the most spectacular kinds of performance on stage. The frequency of single combats and duels in Shakespearean plays confirms their popularity on stage. These combats directly originated fromthe swordplay which was sometimes performed on the same stage. About the nature of sword play, Craig Tuner and Tony Soper say:
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