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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... Characters I. Title 822.3'3 PR2989 ISBN 0-7099-1124-6 First published in the USA 1983 by Barnes & Noble Books 81 Adams Drive, Totowa, New Jersey, 07512 Library of Congress Cataloging in Publication Data Gregson, J.M. Public and private ...
... character, and little comic relief: there is no Falstaff here to add breadth of ironic commentary and bring human reaction springing out of the dusty chronicles and down the centuries. Despite the leap in quality of many speeches and ...
... character his audience would have accepted without difficulty as a monstrous villain. Presented with the Tudor view of history, which determined that Richard must be a bogey-man, and the ready-made convention of the Machiavellian ...
... character of his villainy. He turns to his wooing of Anne, and Shakespeare realises as clearly as any plotter of horror films the connections in the dark recesses of the psyche between sex and violence: Nay, do not pause; for I did kill ...
... character. The passage between Richard and Queen Elizabeth in Act IV Scene iv, in which he demands her daughter as a bride, is no more than a repeat of his earlier outrageous performance in wooing Anne. Because it is a repetition and ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |