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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... — Political and social views. I. Title. PR2989.G73 1983 822.3'3 83-3750 ISBN 0-389-20394-7 Printed and bound in Great Britain by Biddies Ltd, Guildford and King's Lynn CONTENTS Preface 1. Early Work 2. The Major Histories: Richard.
... 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,
... Hamlet will take eighteen lines to whet the appetite of his audience and explain to them why the play's the thing Wherein I'll catch the conscience of the King. The opening of Richard III shows Shakespeare at once bringing.
... crime. Shakespeare's contemporary creation King John 5 gropes uncertainly towards the murder of Prince Arthur; Richard contemplates the princes and says to Buckingham, Shall I be plain? I wish the bastards dead. There.
... King Henry, But 'twas thy beauty that provoked me. Nay, now dispatch; 'twas I that stabb'd young Edward; But 'twas thy heavenly face that set me on. His delight in the success of his virtuoso performance is expressed with his usual ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |