Abstract
This chapter distinguishes between two kinds of human representations on the stage: dramatis persona (a Moor, a Queen, a Prince) and character. Characters often speak through ekphrases, using vivid descriptive language, which is Shakespeare’s way of infusing depth into dramatis personae. The argument continues that ekphrasis can also persuade an audience that a person in the play is making a terrible error (as Romeo, seeing Juliet in the Capulets’ tomb awakening from the sleeping potion that Friar Laurence has given her, and believing her lingering pallor is a sign of coming death, takes poison so that she will not die alone).
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