Public and Private Man in ShakespeareRoutledge, 2021. márc. 30. - 258 oldal The potential duality of human character and its capacity for dissembling was a source of fascination to the Elizabethan dramatists. Where many of them used the Machiavellian picture to draw one fair-faced scheming villain after another, Shakespeare absorbed more deeply the problem of the tensions between the public and private face of man. Originally published in 1983, this book examines the ways in which this psychological insight is developed and modified as a source of dramatic power throughout Shakespeare’s career. In the great sequence of history plays he examines the conflicting tensions of kingship and humanity, and the destructive potential of this dilemma is exploited to the full in the ‘problem plays’. In the last plays power and virtue seem altogether divorced: Prospero can retire to an old age at peace only at the abdication of all his power. This theme is central to the art of many dramatists, but in the context of Renaissance political philosophy it takes on an added resonance for Shakespeare. |
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... Measure for Measure 4. Hamlet 5. Othello 6. King Lear 7. Macbeth 8. The Roman Plays: Julius Caesar, Antony and Cleopatra and Coriolanus 9. The Late Romances Bibliography Index PREFACE When I first read Richard II many years ago,
... contrast between Richard's private face and his public effects. At the other end of his work, Shakespeare builds Antony and Cleopatra entirely around the conflict between private feeling and public responsibility, but by this Preface.
... Antony and Cleopatra, and there he will leave Enobarbus to comment on the foolishness and the grandeur as he dare not leave Mercutio here. There is another, more important, reason why Romeo remains a simple character. He is not a public ...
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Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |