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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... Well and 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,
... Othello is a man supremely confident of broad public effects who flounders in the unfamiliar framework of a domestic tragedy. There is a sort of academic blinkering which always threatens a book like this one. The danger is that one ...
... Othello, will be destroyed by a failure to recognise the different demands of public and private life. But all this lies well ahead. Shakespeare tries his hand at the bloodletting then in theatrical vogue in Titus Andronicus.11 Lavinia ...
... Othello is left with Iago to probe an insecure love, not only are Romeo's posturings suddenly transformed into a more genuine emotion, but Mercutio is banished from the play. As Henry V's design will not accommodate Falstaff, so ...
... Othello in a similar situation. But he is not an important character and Shakespeare is still only learning the economy of language which will enable him to suggest character by the manner as well as the matter of speech. Benvolio's ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |